Eds.: Marcel Hartwig (University of Siegen) & Gunter Süß (Chemnitz University of Technology)
In her book No Logo (New York: Knopf, 2000), often called ‘the bible of globalization critics,’ (Holm Friebe and Thomas Ramge, 2008) activist scholar Naomi Klein argues that the predominance of identity politics, which could be witnessed in the 1980s and 1990s, has impeded a balanced study of culture: “Class fell of the agenda, along with all serious economic – let alone corporate – analysis” (122). Demanding a paradigm shift toward the economic and corporate aspects of social and cultural life, Klein draws attention, in particular, to what she describes as ‘everyday economic practice.’ According to her, it is in this economic terrain where all the contradictory and multifaceted developments commonly subsumed under the headline ‘globalization’ are painfully perceived. “In this new globalized context,” Klein holds, “the victories of identity politics have amounted to a rearranging of the furniture while the house burned down.” (123)
Since the publication of No Logo a lot has changed within the fields of Cultural and Media Studies. The analyses of economic and corporate structures along with their consequences for cultural practice have come to the fore. Likewise, the processes of media convergence, ‘glocalization’, and technological changes of media formations have increasingly been discussed from an economic perspective. In their “Introduction” to the anthology Media Industries (Malden: Wiley-Blackwell, 2009) Jennifer Holt and Alisa Perren suggest that the academic discourse of Media Studies should be expanded by an important new subdiscipline, namely the field of Media Industry Studies:
These myriad developments have created a pressing need to bring interdisciplinary scholarship on media industries into a common dialogue. It is therefore our belief that media industry studies should be mapped and articulated as a distinct and vitally important field itself. (2)
Echoing Holt and Perren, we intend to focus more closely on the constitutive components of Media Economies. Therefore, we are interested in the recent changes in producer-consumer-relations, brand management, and the privacy protection of consumers in the light of what Henry Jenkins defined as “participatory culture”. Moreover, we observe an increasing manifestation of social classes and hierarchies due to restricted media access, digital rights management, copy protection, the surge of digital and therefore intangible goods and ‘premium’ social networks. Finally, we are also curious to learn more about the chances of new media formats, appropriation art, distribution channels and the further development of media technologies.
We welcome 500 word abstracts from media producers as well as from scholars of cultural industries, media studies, English and American studies, political and media economy, film and TV studies, and sociology. Participants could trace individual ‘texts’, formats, genres, or media franchises as well as explore the theoretical dimensions of the economy of media cultures.
Themes for papers could include, but of course are not limited to:
- macro-/micro-economic models of media economies
- the role of Creative Commons and self-marketing strategies in Web 2.0 environments
- competitions within and across media economies
- hierarchies of needs in the age of convergence culture
- forms and functions of heterogeneous economic models and product diversity (i.e. for the creation of new economic values and ethics)
- the power of media economies in remaking/ altering/ shaping cultural aesthetics, values, and norms
- ethical codes of transnational media economies
- teaching media economies: didactics, models, and responsibilities
Please e-mail abstracts or any queries to firstname.lastname@example.org by May 31, 2011.
Dr. des. Marcel Hartwig
Reichenhainer Str. 39
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