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<div class="WordSection1">
<p class="MsoNormal"><span style="font-size:12.0pt">Dear KineJapan colleagues,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">I hope this finds you well.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">Please consider submitting a paper to the following special issue of Mechademia which I’ll be editing on the topic of the media mix, or passing this along to friends/colleagues/students who may be interested.
Thank you!<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span style="font-family:"Times New Roman",serif">Vol. 16.1: Media Mix<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-family:"Times New Roman",serif">Guest ed. Marc Steinberg (Due July 1, 2022)<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="MsoNormal" style="text-indent:36.0pt"><span style="font-family:"Times New Roman",serif">“Media mix” names the practice of creating, marketing, and engaging cultural goods serially across media types – from light novels and anime to toys and foodstuffs.
In some accounts it also means the system of practices termed transmedia storytelling; in others it names an ecology of practices and relations between media forms; in yet others it names the queer potentialities or community-forming properties of fan-based
practices around cross-media serializations. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif"> This volume of
<i>Mechademia:Second Arc </i>seeks papers that shed new light on the media mix as practice, as theory, or as history. Building on the work of the past two decades on the topic, this special issue calls for new approaches and new forms of analysis of the media
mix. The focus of papers may be on individual media mix series; on the practices of a given anime studio or game company; on the impact of streaming platforms on the media mix; on the historical development of specific media mix models; on the ways different
epistemologies can bring out distinct histories of the media mix; or on the ways feminist or decolonial media histories might challenge existing media mix paradigms. Papers may focus on a particular outpost of media mix, for instance figure manufacturing and
the politics of plastic use involved; on the centrality of IP; or on the geographical composition of media mixes – from the transnational nature of anime production to the dispersed manufacturing geographies of production to the transcultural circuits of consumption
and affinities created among fans of a particular media mix series. Contributions may be conceptual or archival; may offer overviews or a state of the field or focus on a particular area of intervention.
<o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent:36.0pt"><span style="font-family:"Times New Roman",serif">Authors are encouraged to be bold in both building on and rethinking existing paradigms. They are encouraged to look to historical, spatial, and archival “elsewheres”
in their analysis that supplement blind spots in existing research. And they are encouraged to engage new approaches from fields not yet centered in media mix analysis – from critical race studies to organizational media studies to disability media studies
to production studies to studio histories to platform studies to sexuality studies. They may also expand the geography of analysis from Japan to elsewheres that are equally impacted by the media mix, or that take up media mix-like practices.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif">Possible topics for this special issue include those noted above, as well as the following:<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<ul style="margin-top:0cm" type="disc">
<li class="MsoListParagraphCxSpFirst" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Media mix models or paradigms (including its parallel terms: cross media, transmedia, one source multi use, etc.)<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Industry and media labor perspectives on the media mix<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Geographies of the media mix (i.e. physical or media geographies)<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Material cultures and physical spaces of the media mix (the city, the retail store, the amusement park, the café)<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Government promotion (“Cool Japan”), industrial policy, and the media mix<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">The media mix in China, Korea, other parts of Asia or the world<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Media mix in the context of colonialism and empire
<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Narrative tropes, aesthetics, and media mix styles (ex: loop narratives, BL, slice of life, etc.)<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">The role of particular media – weekly magazines; animation; games; the internet; platforms like YouTube or Niconico Video or Bilibili; apps like LINE or WeChat – in generating particular models
of the media mix<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Animation or film studios and the media mix<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Intersection of media mix and distribution systems – from the convenience store to book and magazine distributors (Tohan and Nippon Shuppan) to Amazon logistics to streaming platforms<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Media infrastructures, logistics, and the media mix<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Sound in/and the media mix<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">Environmental media and ecological approaches to the media mix<o:p></o:p></span></li><li class="MsoListParagraphCxSpLast" style="margin-left:0cm;mso-add-space:auto;mso-list:l2 level1 lfo3">
<span lang="EN-US" style="font-family:"Times New Roman",serif">The media mix as it relates to time, seriality, and sequentiality<o:p></o:p></span></li></ul>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif">Any other topics and approaches are also very welcome.
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Times New Roman",serif"><o:p> </o:p></span></p>
<p style="margin-top:15.0pt"><b><span style="color:black">The deadline for submission of essays for this volume is: July 1, 2022</span></b><span style="color:black">. All submissions should be sent to<span class="gmail-apple-converted-space"> </span></span><a href="mailto:submissions@mechademia.net"><span style="color:black">submissions@mechademia.net</span></a><span style="color:black">.
Please indicate the title of the volume you are submitting to as follows: “Submission–SA16.1: "Media Mix” in the subject line. Submit <strong>two copies</strong><span class="gmail-apple-converted-space"> </span>of your article as a Word document. One of these
copies should be <strong>anonymized</strong>: do not include your name anywhere in the article (named citations of your own work are acceptable, provided you do not use first-person language to discuss the work in question).<o:p></o:p></span></p>
<p style="margin-top:15.0pt"><span style="color:black">Submissions should be 5,000-7,000 words and follow the<span class="gmail-apple-converted-space"> </span></span><a href="https://www.mechademia.net/wp-content/uploads/2018/03/Mechademia-Style-Guide-2018a.pdf" title="https://www.mechademia.net/wp-content/uploads/2018/03/Mechademia-Style-Guide-2018a.pdf"><b><span style="color:black">Mechademia
Style Guide</span></b></a><span style="color:black">, which is based on the<span class="gmail-apple-converted-space"> </span></span><a href="https://owl.english.purdue.edu/owl/resource/717/01/"><b><span style="color:black">Chicago Manual of Style</span></b></a><span style="color:black">.
Figures (and separately submitted captions) are limited to eight per essay; image permissions are the responsibility of authors upon acceptance. Submissions: 5,000-7,000 words including citations in Chicago Style, 17th ed. in Bibliographic Endnote form with
no notes or CFs; in Word only, no PDFs. Figures are limited to 8 images and/or tables, at least 300DPI and in either TIFF or JPG formats submitted in a separate file and not embedded in the text, with captions submitted on separate Word document. Permissions
are the responsibility of the author. <i>The Mechademia Style Guide<span class="apple-converted-space"> </span></i>can be found at<span class="apple-converted-space"> </span></span><a href="http://www.mechademia.net">www.mechademia.net</a><span style="color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<div>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">best wishes,<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Marc<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Marc Steinberg<br>
Associate Professor, Film Studies<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">PhD Graduate Program Director, Film and Moving Image Studies <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Mel Hoppenheim School of Cinema<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Concordia University<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Pronouns: He/Him<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><i><span style="font-size:12.0pt;color:black">Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. </span></i><span style="font-size:12.0pt;color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><i><span lang="FR-CA" style="font-size:12.0pt;color:black">L'Université Concordia est située en territoire autochtone, lequel n’a jamais été cédé.</span></i><span lang="FR-CA" style="font-size:12.0pt">
<i><span style="color:black">Nous reconnaissons la nation Kanien'kehá: ka comme la gardienne des terres et des eaux sur lesquelles nous nous réunissons aujourd’hui.</span></i></span><span style="font-size:12.0pt"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black"> <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Recent books: <o:p></o:p></span></p>
<ul style="margin-top:0cm" type="disc">
<li class="MsoNormal" style="color:black;mso-list:l1 level1 lfo1"><span style="font-size:12.0pt"><a href="https://meson.press/books/media-and-management/"><span style="color:#0563C1">Media and Management</span></a> (with Rutvica Andrijasevic, Julie Yujie Chen,
and Melissa Gregg)<o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-list:l1 level1 lfo1"><span style="font-size:12.0pt"><a href="https://www.upress.umn.edu/book-division/books/the-platform-economy"><span style="color:#0563C1">The Platform Economy: How Japan Transformed the Consumer Internet</span></a><o:p></o:p></span></li></ul>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt;color:black">Recent articles: <o:p></o:p></span></p>
<ul style="margin-top:0cm" type="disc">
<li class="MsoNormal" style="mso-list:l0 level1 lfo2"><span style="font-size:12.0pt"><a href="https://journals.sagepub.com/doi/abs/10.1177/01708406211030681"><span style="color:#0563C1">From automobile capitalism to platform capitalism: Toyotism as a prehistory
of digital platforms</span></a><o:p></o:p></span></li><li class="MsoNormal" style="color:black;mso-list:l0 level1 lfo2"><span style="font-size:12.0pt"><a href="https://journals.sagepub.com/doi/full/10.1177/2056305120933285"><span style="color:#0563C1">LINE as Super App: Platformization in East Asia</span></a><o:p></o:p></span></li></ul>
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<p class="MsoNormal"><o:p> </o:p></p>
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