TÜBİTAK 27 HAZİRAN ÇARŞAMBA GÜNÜ BİLGİ’DE

TÜBİTAK, ulusal ve uluslararası akademik araştırma programları ve bilim insanları desteklerine dair bilgi vermek üzere, 81 ilimizde akademisyenlerle biraraya geliyor.

Bilgi günleri, temel olarak araştırmacıların ulusal ve uluslararası düzeyde artış gösteren akademik araştırma desteklerine dair farkındalıklarını ve desteklerden yararlanma oranlarını artırmayı amaçlıyor.

TÜBİTAK’tan üst düzey yöneticiler ve destek programları uzmanları katılımıyla gerçekleşecek toplantılarda;

  • TÜBİTAK tarafından verilen akademik Ar-Ge destekleri, Uluslararası akademik Ar-Ge destekleri ve Bilim insanı destekleri (TÜBİTAK lisans ve lisans sonrası bursları) tanıtılacak,
  • Akademisyen ve bilim insanlarına yönelik araştırma projelerinin hazırlanmasında başarı ve başarısızlık nedenleri paylaşılacak,
  • Her il için o ilde yer alan üniversitelerin akademik destek programlarındaki durumu paylaşılacak, o ile yönelik öneriler verilecek,
  • Katılımcılara daha sonra TÜBİTAK’a başvurularında kullanacakları katılım belgesi verilecek,
  • Toplantı sonunda yapılacak geri bildirim anketleri ile hem bilgi günleri hem de araştırma destek mekanizmalarına dair katılımcıların görüş ve önerileri alınacak.

Bilgi günleri ile; TÜBİTAK ile üniversitelerimiz arasında iletişim köprüleri kurulması, destek mekanizmalarından yararlanan araştırmacı sayısının ve nitelikli proje hazırlama kapasitesinin artırılması hedefleniyor.

TÜBİTAK Bilgilendirme ve Eğitim Semineri

27 Haziran 2012 Çarşamba (14.00 – 17.30) , Dolapdere Kampüsü BS-2 

Against the Wind: A new article by Aslı Tunç

ImageThe new article of Professor Aslı Tunç is published in the new issue of Euxeinos, ‘Citizenship, Activism and Mobilization: Internet Politics in Greece Turkey and Bulgaria’. Tunç’s article, ‘Against the Wind: Internet, Politics and Cyber Activism in Turkey’, offers a comprehensive discussion on the Internet Law and Internet Censorship in Turkey. Tunç notes: ‘The impact of social media is still to be fully seen, but so far it appears to have given citizens new opportunities for digital activism and political participation despite the concerning legal restrictions on the Internet in Turkey’. The full article and the new issue of Euxeinos is now available online and can be accessed here.

Multiplicities: Cycles, Sequels, Remakes and Reboots in Film & Television

Like film genres, film cycles are a series of films associated with each other due to shared images, characters, settings, plots, or themes. But while film genres are primarily defined by the repetition of key images (their semantics) and themes (their syntax), film cycles are primarily defined by how they are used (their pragmatics). In other words, the formation and longevity of film cycles are a direct result of their immediate financial viability as well as the public discourses circulating around them. And because they are so dependent on audience desires, film cycles are also subject to defined time constraints: most film cycles are financially viable for only five to ten years.  The contemporaneity of the film cycle—which is made to capitalize on a trend before audience interest wanes—has contributed to its marginalized status, linking it with “low culture” and the masses.

As a result of their timeliness (as opposed to timelessness), film cycles remain a critically under examined area of inquiry in the field of film and media studies, despite the significant role film cycles have played in the history of American and international film production. This collection of essays seeks to remedy that gap by providing a wide-ranging examination of film cycles, sequels, franchises, remakes and reboots in both American and international cinema. Submissions should investigate the relationship between audience, industry and culture in relation to individual production cycles. We are also soliciting essays that examine how production cycles in the television industry are tied to audience, culture, and production trends in other media.

 

Possible topics include, but are not limited to:

-sequels, trilogies, and franchises as cycles

-the relationship between film cycles and subcultures

-the relationship between film cycles and political and social movements

-analyses of intrageneric cycles (film cycles within larger film genres) such as  teen-targeted musicals (High School Musical, Save the Last Dance, You Got Served) or torture porn horror films (Saw, Hostel, Touristas)

-analyses of intergeneric film cycles (stand-alone film cycles) like disaster films (The Day After Tomorrow, Poseidon, 2012) or mumblecore ((Baghead, Cyrus, Tiny Furniture)

-the transmedia nature of cycles (the relationship between Harry Potter books, films, toys, video games, fan fiction, vids, etc.)

-the relationships between cycles in television, music, and film, like the appearance of fairytale television shows (Once Upon a Time, Grimm) and films (Snow White and the Huntsman, Mirror, Mirror) in 2011-2012

-production cycles found  within television (television musicals, comedy verite, etc.)

– essays that explore the (dis)connections between film cycles, on the one hand, and remakes, sequels, adaptations, and appropriations on the other

please note: Essays dealing with the American blaxploitation cycle of the 1970s should approach it from a fresh perspective, not yet represented in the substantial scholarly literature on the topic.

 

Submission Guidelines:

Please submit your abstracts of 400 words and a brief (1-page) CV via email to both of the editors by August 30, 2012. Finished essays should be approximately 6,000 to 7,000 words in length, including footnotes. Acceptance of essays will be contingent upon the contributors’ ability to deliver an essay that conforms to the work proposed by the submitted abstract. We will notify contributors by November 2012.

Please email your abstract and CV to both editors:

R. Barton Palmer: PPALMER@clemson.edu

Amanda Ann Klein: kleina@ecu.edu

Call for Papers and Art Works: Fakeness

Following the first issue on novelty, Critical Contemporary Culture’s second issue will explore the notion of fakeness in contemporary culture. Fakeness appears in many guises, most often in opposition with the authentic.  Notions of authenticity, and consequently of fakeness, are implied and deployed in everyday culture and discourse.

So what is the experience of fakeness in the context of consumer culture? Goods and services such as designer clothing, the art market, musical taste, sports and management rely on the relational nexus of fakeness and authenticity. The desire for the authentic creates a spiral of frustration, as the drive to consume can never be satisfied. At the same time, the ‘prosumer,’ who is at once a target consumer and major capital producer, constantly renegotiates the value of the copy, the fake, the authentic and the original. The expansion of information technologies has brought to the fore the fluidity of culture that allows space to analyse the socially constructed binary of fakeness/authenticity.

Race and gender enter into discussions of fakeness a priori­—in other words, there is no discussion of fakeness or authenticity that can be conducted completely apart from what is sometimes scornfully called “identity politics.”  We value gender constitution, national belonging, immigration, class, race, and ethnicity as indispensable optics through which authenticity and fakeness are viewed. Can the performativity of ‘fakeness’ allow the Self to come close to the Other? This discussion surely leads into the question of the representation of ‘weakened’ Subjects and groups.

Digital reproduction and ‘new’ media integration claim to empower communities and audiences, aiming towards personal and fragmented truths. In this line, where the grand narrative is being disrupted, questions of the existence of authentic representations arise. Parallel to this, are definitions of authenticity/fakeness still valid in the context of artistic and aesthetic production? If so, how does that differentiate and elaborate across the various art forms? An interesting interaction also may occur with the buzzing, problematic notion of creativity and innovation.

Fakeness is generally perceived as a negative value, a negation of value.  Is it possible, however, to view authenticity with the scepticism normally reserved for the fake? Can the notion of fakeness allow a re-orientation of authenticity as something other than originality, natural beauty, justice, or truth? If authenticity is actually an essentialist and exclusionary category owned by the few and desired by the many, can attention to fakeness teach us something about the nature of social struggle in our times? Can fakeness support the possibility of a more democratic system of ownership in which everyone can be fulfilled.

Critical Contemporary Culture is designed to bring together students, from the humanities and social sciences,with cultural practitioners to create a dialogue about what culture is. For this issue we particularly welcome essays, art works, narratives and any medium of communication that address the question of fakeness.

For written work, initial submissions should be made in the form of a 300-500 word abstract. Artworks or proposal for an artist’s project should comprise a one-page written description and up to ten sample images. If an original artwork for CCC is proposed, samples of comparable work should be submitted. Details of medium and format should also be included, along with complete caption information.

These should be submitted by Friday, June 25th 2012, noon.

Full papers or art works will be expected by Friday 7th September 2012.

For further details please visit:

http://www.criticalcontemporaryculture.org/call-for-papers/

Call for Papers: Special Issue on the Changing Business of Journalism

Comparative Perspectives on the Changing Business of Journalism and its Implications for Democracy

This special issue of the International Journal of Press/Politics is dedicated to international comparative research on the changing character of commercial news media in democracies around the world at the beginning of the 21st century, and what these changes in turn mean for democratic politics. 
We therefore invite contributors to focus, on the basis of empirical work  in two or more democracies, on both substantive and more theoretical  issues including:

• Developments in news media industries including newspapers,  free‐to‐air broadcasting, cable television, and pure player news provision with an emphasis on what these developments mean for their role in democracies

• Similarities and dissimilarities between trends in the functioning of  news media in different democracies, in established versus new democracies, and in mature markets versus emerging markets with  attention to their political consequences

• The role of public policy in responding to recent changes in the media industries across different democracies, and the wider democratic implications

Authors should submit papers using the online system (http://mc.manuscriptcentral.com/ijpp).

The deadline for  submission is  October 1st 2012.

Submissions should not exceed 8,000 words including tables and bibliography. All submissions will be peer reviewed, and the editors will select 5 or 6 articles for publication. 

Questions should be directed to Dr Nielsen (rasmus.nielsen@politics.ox.ac.uk) or Professor Esser (f.esser@ipmz.uzh.ch).

More information is found here: http://hij.sagepub.com/