REGISTRATI​ON OPEN: Fan Studies Network Conference 2014

August 1, 2014 by

Dear all,

We are delighted to announce that registration for the Fan Studies Network Conference 2014 is now open. The event will take place on 27-28 September at Regent’s University, London. You can register on the conference webpage here:

http://www.regents.ac.uk/events/the-fan-studies-network-conference.aspx

There are very limited spaces for the event, so we urge you to register as soon as possible. Full information about prices and location can be found via the link above.

The current draft schedule is available to view online here:

http://fanstudies.files.wordpress.com/2014/08/fsn-2014-draft-full-programme.pdf

Any questions, please email us at fsnconference@gmail.com

We think this will be a very exciting conference – we hope to see you there!

The FSN conference team

FSN Symposium 2013 Video

December 9, 2013 by

The very first Fan Studies Network Symposium, held at the UEA on 30th November 2013, was a great success. Thanks to all those who attended, presented papers, or gave us support over Twitter on the day!

We were delighted to have Emily from SeaMe.tv in attendance, filming panels and talking to attendees. SeaMe.tv has produced an excellent video summarising the day. You can view it embedded below.

The Fan Studies Network: About Us

April 27, 2013 by
Formed in March 2012, the Fan Studies Network was created with the idea of cultivating an international friendly space in which scholars of fandom could easily forge connections with other academics in the field, and discuss the latest topics within fan studies. Having attracted close to 300 members across the world, the network is already fostering a sense of community and engendering fruitful debate.
In May 2013 a special section of Participations journal was dedicated to the FSN. You can read all the articles here:
http://www.participations.org/Volume%2010/Issue%201/contents.htm
You can also find us on Twitter at @FanStudies, on the discussion list at http://jiscmail.ac.uk/fanstudies and on the Facebook group at https://www.facebook.com/#!/groups/507241072647146/
To contact the FSN, please email Lucy Bennett (bennettlucyk@gmail.com) and/or Tom Phillips (T.Phillips@uea.ac.uk)

CFP: Deletion—Deviation: The Perversions of Science Fiction symposium, Feb 19&20 2015, Deakin University, Melbourne, Australia

August 29, 2014 by

Deletion—Deviation: The Perversions of Science Fiction

Call for Papers

Science Fiction exists in a state of tension between the pleasurable and the perverse — of the pleasure gained from its fictive forms, and the perversions of facts and flesh within its speculative futures, imagined worlds and creative appropriations of technological innovation.
There is an immutable thread that runs throughout science fiction, that which “distinguishes its fictional worlds to one degree or another from the world in which we live” (Roberts, 2000), worlds perhaps characterised by Darko Suvin’s ‘estrangement’ or Samuel Delaney’s ‘reading/writing effects.’ The ways in which this distinction is maintained traces the nebulous line between the pleasurable and perverse in science fiction. How does the pleasure of its fiction collide with the perversions of the ‘world in which we live’?
This symposium looks to the very edge of science fictional possibilities, at the many perversions and pleasures that can take place when pushing the boundaries of science fictional imaginings.

Possible topics for papers may include:
Perversion(s) of science fact in science fiction
Environmental perversions in science fiction
Perversions of the body in science fiction
Queer imaginings in SF
Sex in SF
Perverse pleasure in science fiction
Trauma in SF
Perverse greed in SF
SF and psychosexuality(s)
Acts of violence in SF texts
Trans-humanism
The perverse imagination and science fiction
Perverse characters/perverse worlds
Perversions of form in science fiction cinema
The perverse “What If?”

Deletion—Deviation: The Perversions of Science Fiction will take place February 19th and 20th at Deakin University’s City Prime location, 3/550 Bourke St. Melbourne.

We invite contributions that address any of these areas around the deviant or perverse in of literature, film, gaming, art, and science and technology, and any other field with an investment in the deviant or perverse in science fiction.

This symposium will allow for a future edited collection on the open access online forum for science fiction studies Deletion (www.deletionscifi.org), aiming for publication in mid 2015.
We welcome abstracts of 300-350 words, along with a short biography, emailed to grady.hancock@deakin.edu.au or leon.marvell@deakin.edu.au by Friday October 31st. Notification of acceptance of articles will be by Friday November 18th.

CFP: Otherness and Transgression in Celebrity and Fan Cultures, Aarhus University, Denmark, 21-22 November 2014 *EXTENDED DEADLINE*

August 29, 2014 by

Otherness and Transgression in Celebrity and Fan Cultures
Hosted by the Cultural Transformations Research Group, Aarhus University.
November 21-22, 2014
LOCATION: AARHUS UNIVERSITY, DENMARK.
*NEW EXTENDED DEADLINE FOR CALL FOR PAPERS*: SEPTEMBER 5, 2014

Keynote speaker:
Matt Hills, Aberystwyth University –
“Fans as Celebrities, Celebrities as Fans: The Rise of an Affective Economy?”

The notions of otherness and transgression play an essential part in the cultural work and practices celebrities and fandoms perform inasmuch as these concepts are inseparable from the celebrity and fan cultural processes of social in/exclusion, identification and dissociation, uniformity and diversification,
and forces both drawing and disrupting demarcations between normalcy and deviance. To the extent that these processes are actively shaped by and partake in shaping our desires, contempt, ways of thinking and being, otherness and transgression constitute pertinent sites for critical exploration within
the two overlapping fields of research, Fan and Celebrity Studies.
A complex and multivalent term, otherness is conventionally signaled by markers of “difference” and the unknown. As difference remains a condition for any determinate sense of identity, otherness is also inevitably implicit and complicit in considerations of subjectivity, identity, and sameness rendering it a pivotal aspect in discussions on both their constitution and impossibility. Likewise, in the field of Fan and Celebrity culture – where categories such as class, gender, race, sexuality, and age dynamically intersect and interact in manifold ways – the identity work, social meanings, and cultural preferences informing both these cultures’ production and consumption of cultural and media texts are also
constantly negotiated. Reflexive of the values, biases, and tensions of the social body, they are useful indicators of contemporary configurations and devices for othering; for example, the ways in which the discourses of immorality, pathology, monstrosity, impropriety, and cultism, among others, inform the construction of difference, and function as vehicles for othering that additionally cut diagonally across various imbricating “-isms,” such as racism, heterosexism, ageism, ableism, and lookism.
As difference often implies the perception of deviance, otherness is accompanied by the constant impending threat of transgression, to undo and redraw the differentiating limits determining the
provisional identities of entities, behaviors, and bodies. While transgression refers to a violation and exceeding of bounds, it also ambiguously realizes and completes these boundaries as it helps define them and reaffirms a given social order by designating the illicit. This dialectic of the de/stabilizing
effects of transgression summons further inquiry in relation to fandoms and celebrity cultures, in which deviance is an attractive commercial component. Construed as particularly excessive, both celebrity personas and subcultural fan practices are defined by their distance from the norm, but where celebrity
culture concerns the consumption of transgressive content and narratives of extraordinary personalities, in the case of fan culture, consumption itself is purportedly transgressive. Celebrities are conventionally conceptualized as power-saturated signs seductively reinforcing cultural norms – either
through glossy portraits of charismatic individuals advertizing luxurious lifestyles and the censure of celebrities in the scandal genre respectively – and fandoms, conversely, as subversively contesting these norms through the fetishistic appropriation of cultural icons, media products, and playful textual poaching. However, hardly homogenous, both celebrity power and fandoms channel a multitude of contradictory and inconsistent ideological inflections, and entail a complex mesh of conformity and heterogeneity, which informs, for example, the social interaction among fans and their interpretive communities, whose internal fractions struggle over affect and meaning, as well as the pervasive circulation and currency of certain im/proper celebrity images and fan identities. Accordingly, the need to study, explain, and analyze the semiotic labor invested in the celebrity sign and by the fan in a given media product respectively only becomes greater.
In light of today’s new socio-political subjectivities, prosumer and participatory culture, new technologies and distributive modes, expanding networks, and means of communication enabling transcultural proximity between individuals from different parts of the world, new encounters, expressions, and understandings have emerged and with it, transformed nuances of othering, saming, and transgression. As a result, Fan and Celebrity cultures, are in need of a reappraisal in which the new fickle and permeable boundaries between identities, cultural practices, private and public spheres, products and consumers, celebrity and fan bodies, intimacy and estrangement are investigated.
Refracting otherness and transgression from overlapping prisms, the pleasures, representations, productions, and affects of celebrity and fan cultures opens up a fruitful and invigorating space for further research.
It is this variety of formulations which this conference wishes to convene on from divergent disciplinary and theoretical perspectives. The Cultural Transformations Research Group at Aarhus University therefore invites submissions exploring celebrity and fan cultures within the scope of the critical spaces and contexts offered by otherness and transgression.

WELCOME TOPICS INCLUDE BUT ARE NOT LIMITED TO THE FOLLOWING:
The Intersection of Celebrity and Fan Studies
Sex, Gender, Sexual Differing, and Queering the Fan / Celebrity Body
Cross-Over Celebrities; Ethnicity, Hybridity, and Fandom in Transcultural Contexts
Celebrity Representations of Dis/ability and through Fan Works
The Intersectionalities of Social Categories in Celebrity and Fan Cultures
Notoriety, Infamy, Scandal, Deviance, and Excess
Social Media and the Construction of Celebrity as Other
The Construction of Otherness in Fandom and Fan Works
Monstrosity, the Abject, and Uncanny in Fan Fiction, Fandoms, and Celebrityhood
Pathology, Addiction, Cultism, Confession, and Therapy
Mashing and Vidding: Viral and Violating
Authenticity, Secrecy, Intimacy, and Publicity
Post-feminist Celebrity Narratives and Cultural Forms
Power, Prosumerism, and Participatory Culture
New Modes of Self-Other Relations within Para-social Contexts
Fan and/or Celebrity Shaming
The (Im)Material Other Worlds of Fandoms and the Alternative Spaces of Fan Communities

PUBLICATION OPPORTUNITIES
We are pleased to announce that qualified research papers are considered for prospective publication in a special issue of the peer-reviewed journal Otherness: Essays and Studies,
http://www.otherness.dk/journal/. Submitted articles will follow the standard review process of the journal.

PROCEDURE FOR SUBMITTING PROPOSALS FOR PAPERS
The conference is open to scholars and students of all disciplines. Those wishing to participate in the conference are invited to submit an abstract of no more than 300 words to the organisers at otcelebrityfan@gmail.com by 5 September, 2014. The convenors will have reviewed the
abstracts and notified the authors of whether their proposals have been accepted no later than
September 12, 2014. Papers may be given in English with citations in any language, and are limited to 20 minutes.
All questions regarding conference content (abstracts, presentations, speakers etc.) may be directed to the organizers at otcelebrityfan@gmail.com.

CONFERENCE COMMITTEE:
Matthias Stephan, Ph.D. scholar Claus Toft-Nielsen, Ph.D.
Lise Dilling-Hansen, Ph.D. scholar Susan Yi Sencindiver, Ph.D.

Call for Chapter Proposals: Public Relations and Participatory Culture: Fandom, Social Media and Community Engagement

August 12, 2014 by

CALL FOR CHAPTER PROPOSALS: PUBLIC RELATIONS AND PARTICIPATORY CULTURE: FANDOM, SOCIAL MEDIA, AND COMMUNITY ENGAGEMENT.

We invite submissions of chapter proposals for Public Relations and Participatory Culture: Fandom, Social Media, and Community Engagement. This edited volume, to be published by Routledge in 2015, will examine the relationships and interactions between fans and organizational public relations efforts.

The purpose of this volume is to integrate stakeholder and publics theories with those of participatory cultures and media studies/fan perspectives, and to add new, fresh insight into the public relations discipline’s concept of publics and segmentation. The chapters selected for inclusion in this volume will explore challenges, opportunities, and the diversity of fan activity and relationships from a variety of perspectives, including international and intercultural. The situations analyzed will also reflect the diversity of PR situations that involve fan-publics, i.e. not limited to entertainment products. These chapters will help to answer the question: How, as practitioners, can we create meaningful, ethical, and mutually-beneficial relationships between brands/organizations and fans?

We welcome submissions from educators and practitioner on a variety of topics, including (but not limited to):
• Power, co-creation, messages, and fans
• Application of PR theories to audience studies
• Connecting fan research and fan studies theories to the segmentation of publics
• Participatory culture, transmedia, and engagement/active publics
• Community management, social media, and fan publics
• Brand community management
• Fan resistance
• New models for segmenting engaged publics
• Researching online fan-brand communities
• Circuit of culture and segmentation of fans and publics
• Crowdsourcing, crowd-funding, and activating publics

Scholars and practitioners interested in submitting chapter proposals should include a 250-word abstract and a one-page outline of your proposed chapter to co-editor Amber Hutchins at ahutch13@kennesaw.edu. Chapter proposals are due no later than September 1, 2014.

Questions can be directed to coeditors Amber L. Hutchins, Kennesaw State University (ahutch13@kennesaw.edu) or Natalie Tindall, Georgia State University (drnatalietjtindall@gmail.com)

CFP: Diffractions journal -special issue – Popping the Question: The Question of Popular Culture

August 8, 2014 by

Call for Articles

Diffractions – Graduate Journal for the Study of Culture

POPPING THE QUESTION: THE QUESTION OF POPULAR CULTURE

Deadline for article submissions: November 30, 2014​

As a concept, the popular – or popular culture for that matter – has never ceased to be debatable and ambivalent. Although it has come to occupy a particular place under the spotlight over the past decades within the broad study of culture, such apparently privileged position has not deprived it of the manifold ambiguities, complexities or misconceptions that have often involved its general understanding (John Storey, 2012; Angela McRobbie, 1994; Andrew Ross, 1989; John Fiske, 1989).

Following its emergence within the context of the processes of industrialization and the changes they brought about, namely in terms of cultural relations and the development of the capitalist market economy, the concept of popular culture was, for a considerable period of time, not only utterly rejected by intellectuals and scholars alike, but also denied any possibility of constituting a serious and valid topic for academic debate. Up until the mid twentieth-century, popular culture was often equated to a poor and simplistic form of entertainment and pleasure, and was even deemed morally and ethically questionable, not to mention aesthetically. However, and particularly after the 1950s, new perspectives would soon alter this perception in very significant ways, especially with the emergence of Cultural Studies and the influence their project had on both sides of the Atlantic (Lawrence Grossberg, 1997). From severe condemnation, popular culture quickly evolved into a discourse of positive reception and celebration, which resulted from critical work developed inside the academia, but also popular demand outside it.

The concept of the popular was then adopted both as an intrinsic feature, and as topic in its own right of artistic creation developed under the sign of pop. From pop art to pop music, a new understanding of culture has been put forth, building from what is embedded in the ambivalence of the popular and its many possibilities of intersection with new artistic forms of expression.

After the first decade of the twenty-first century, popular culture finds itself at a crossroads: has the concept been drained of its meaning because of its overwhelming popularity? After the euphoria around the popular, what afterlife can be expected from it? Should we still be discussing the popular as opposed to high and folk culture? And where and how do pop art forms intersect with the current notion of the popular?

Themes to be addressed by contributors may include but are not restricted to the following:
§ Popular Culture in Theory
§ Life and Afterlife of Popular Culture
§ Popular, Power and Politics
§ Popular Culture: Globalization, Centres and Peripheries
§ Material Culture
§ Popular music studies
§ Celebrity culture and Fandom: The Dynamics of Popularity
§ Contemporary Cinema and Digital Culture
§ 2.0 and Convergence practices§ Youth cultures, Subcultures, Scenes and Tribes
§ Retromania, Nostalgia and Authenticity
§ Pop and Popular: Overlap, Dissemblance and Divergence
§ Popular Culture and the Practices of Everyday Life
§ Folklore, Tradition and Preservation§ National Identities and Transnational Circulations
§ Cultural memory and popular culture
§ Fashion and luxury
§ Television and the Seriality of Popular Culture
§ Feminism, Postfeminism and Popular Culture
§ Popular Culture and Masculinities
§ Queering Popular Culture
§ Games Culture and New Media
§ Graffiti, Street Art and Urban Policies
§ Creative Industries and Cultural Economy

We look forward to receiving full articles of no more than 20 A4 pages (not including bibliography) and a short bio of about 150 words by November 30, 2014 at the following address: submissions@diffractions.net.
DIFFRACTIONS also accepts book reviews that may not be related to the issue’s topic. If you wish to write a book review, feel free to check the books available athttp://www.diffractions.net/books-for-review and contact us at reviews@diffractions.net.

Diffractions is the international, online and peer-reviewed journal of the doctoral program in Culture Studies at the Catholic University of Portugal. Find us online at http://www.diffractions.net and http://www.facebook.com/diffractionsjournal.

Call for Participants: MetaFandom Unconference, University of Waterloo, Canada, 18 & 19 September 2014

July 29, 2014 by

The University of Waterloo’s, (Canada), Games Institute as well as the IMMERSe Research Network is proud to host a MetaFandom Unconference on Thursday 18th and Friday the 19th September, 2014.

Unconferences are gatherings of interested scholars and experts, where they have informed conversations on a particular topic ­­ fandom and fan studies, in this case! Attendees shouldn’t prepare papers or presentations; rather, they should come to the unconference prepared to speak briefly about a specific topic as a panelist, ask informed questions of other panelists, and, most importantly, get to know other scholars, experts, and interested fans. We invite fans of all kinds to apply ­­ whether you are a fan scholar or a fan yourself, we look forward to discussing all kinds of topics with you.
If you’d like to attend, please send us a fandom biography of at least 200 and no more than 300 words to uwmetafans@gmail.com by August 14th. Let us know what fandoms you consider yourself invested in (however you define that!) and what topics you are interested in talking about, particularly those you would be comfortable speaking on a panel about. Additionally, interested parties should provide evidence of immersion in fandom, academic or otherwise , so let us know about a publication, conference presentation, fan­blog, cosplay, or other fan practice by including a link or citation. Take a look at the organizers’ bios below to get an idea of how to introduce yourself to us!
We also have a limited number of travel subsidies available, and will be happy to offer what we can to those who are making the trip to Waterloo. Please include tentative travel details in your bio if you would like to be considered.

Because we want to encourage a meaningful conversation, we can only offer invitations to 25 people, and we will notify you by August 18th. We will make our decisions in order to ensure there is a varied and balanced representation of fandoms and fan (aca­ or otherwise) practices.

Finally, the MetaFandom Unconference is a safe space. We will not tolerate bigotry of any form, and we expect everyone to respect other people’s fannish engagements. The MetaFandom Unconference is fandom­, ship­, and practice­agnostic, so there will be no favouritism or belittling of certain groups of fans. The general rule of Wheaton’s Law applies: Feel free to disagree, but don’t be a jerk about it.

Please see the attached PDF for the tentative schedule for the unconference, and information on the organisers, Kasandra Arthur, Elise Vist and Emma Vossen.

MetafandomUnconferenceCFP (1)

Call For Chapters: The X-Men Films: A Cultural Analysis

July 16, 2014 by

Call for Chapter Proposals on the X-Men Films

We would like to invite submissions of chapter proposals for an edited
book on the X-Men film franchise. The volume, to be published by
Rowman & Littlefield, is titled “The X-Men Films: A Cultural Analysis”
and seeks to present scholarly research on the movies, their
audiences, and their place within the entertainment industry. The
overarching framework is cultural studies and media studies, yet the
approach is interdisciplinary, so we welcome submissions that involve
related disciplines.

The book focuses specifically on the X-Men movies (not the comics) as
popular culture products of international relevance. While the films
are rooted in the original Marvel series, they depart from it in
various ways, constituting their own conceptual universe. Therefore,
chapter proposals may consider the X-Men’s transformation from comics
to movies, but should not deal primarily with the comic books.

Proposals may focus on any of the X-Men’s movie characters, on themes
that run across several films, or on particular installments of the
series—including the original trilogy that started in the year 2000,
the recent prequels, and the ‘Wolverine’ offshoots. Since the
franchise continues to expand (two more movies are already slated for
release in upcoming years) we are looking for research that is
relevant and timely. In particular, proposals may address textual
aspects of the X-Men films, consider them in relationship to social
and political issues, compare them to other superhero movie series, or
provide an understanding of their audiences. Proposals that deal with
topics of importance for international/intercultural communication are
encouraged.

The following is a preliminary list of topics of interest:
– Social issues reflected in the X-Men films
– Political subtexts found in the X-Men films
– Individual characters’ analysis (Wolverine, Prof X, Magneto, Mystique…)
– Representations of gender, race, class, age, and sexual orientation
– Issues of diversity, disability, inclusiveness, and marginalization
– Issues of otherness, identity, trauma, and belonging
– Portrayals of violence and war in the X-Men films
– Historical references (e.g. the Holocaust, the Vietnam War)
– Representations of power, politics, and the government
– Moral dilemmas, personal choices, and issues of social responsibility
– Portrayals of science, technology and change
– The X-Men’s transformation from comics to movies
– Industry aspects of the film franchise
– The X-Men in relationship to other Marvel superhero films (e.g. Avengers)
– Marvel’s X-Men versus DC-based series (e.g. Batman, Justice League)
– Original research on audiences and fans
– International/intercultural perspectives on the X-Men
– Beyond the X-Men: related themes in popular culture

Please send a 600-word abstract of your proposed chapter to
bucciferro@gonzaga.edu, along with a short bio and contact
information. The deadline for proposals is September 27, 2014.

The chapter selection will seek to represent a variety of analytical
perspectives, disciplinary frameworks, and thematic clusters. The full
chapters will be 5,500 – 6,000 words long and the manuscripts will be
due in January 2015, with further revisions due in May 2015.

If you have questions, please contact Claudia Bucciferro, assistant
professor of communication studies at Gonzaga University, at
bucciferro@gonzaga.edu or (509) 313-3635.

CFP: Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation

July 13, 2014 by

Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation

The eight film versions of the seven Harry Potter novels represent an unprecedented cultural event in the history of cinematic adaptation. The movie version of the first Harry Potter book, Harry Potter and the Philosopher’s/Sorcerer’s Stone, premiered in 2001, in between publication of the fourth and fifth books of this global literary phenomenon. As a result, the production and reception of both novel and movie series became intertwined with one another, creating multiple combination of fans who accessed the series first through the books, first through the movies, and in various other combinations. The decision to cast three young age appropriate actors who would mature along with their fictional counterparts further represents a cross-pollination of the interpretive process, as readers began experiencing the newly emerging novels in terms of the visual imagination of their screen experiences.

Harry Potter on the Page and on the Screen: Adaptation/Reception/Transformation is an essay collection that proposes to explore the cultural, political, aesthetic, and pedagogical implications of the adaptation of this generation-defining young adult narrative in order to expand our scholarly understanding of this far-reaching international literary and cinematic event, consider what we can learn about the process of cinematic adaptation of literary sources, and facilitate the classroom exploration of the Harry Potter series.

Some questions that might be considered:

· How does the overlapping adaptation history of the Harry Potter series affect theoretical questions of fidelity, interpretation, and transformation in film adaptation studies?

· In what ways do the novel and movie series represent the same or different narrative universes?

· How does the dual experience of the novel and movies affect the reception process of Harry Potter fans?

· How do the different media versions of the Harry Potter series impact representations of gender, race, ethnicity, and sexuality?

· How was the dual development of the novel and film series affected by the concurrent development of Web 2.0 and interactive fan culture?

· How has the larger political and social context, particularly 9/11 and the wars of the 21st century, shaped the adaption and reception experience of Harry Potter?

· How have fan communities responded to issues of fidelity and interpretation within the film series? How have fan communities influenced the production process of the movie adaptations?

· How do specific examples of individual novel/movie adaptations represent different issues and developments related to the development of the dual media Harry Potter series?

Interested contributors may email inquiries or one page abstracts by 15 August 2014 to:

John Alberti
Department of English
Northern Kentucky University
Highland Heights KY 41099
alberti@nku.edu

Andy Miller
Department of English
Northern Kentucky University
Highland Heights KY 41099
millera@nku.edu

CFP: The Scandinavian Invasion: Perspectives on the Nordic Noir Phenomenon

July 9, 2014 by

The Scandinavian Invasion: Perspectives on the Nordic Noir Phenomenon
Edited by William Proctor

The crime genre has a long-established history in the Scandinavian countries: from the ten-part series of novels by Sjöwall and Wahlöö featuring Inspector Martin Beck to Henning Mankell’s critique of Swedish society through the lens of the Kurt Wallander novels. Since the publication of Stieg Larsson’s The Millennium Trilogy in 2005 featuring anti-heroine, Lisbeth Salander, we have seen the birth of a global phenomenon that has spread across multiple media windows including literature, film and, most notably perhaps, television. Authors such as Jo Nesbo (The Snowman), Lars Kepler (The Hypnotist), Lotte and Søren Hammer (The Hanging) and more besides, regularly feature in book store charts and on internet shopping sites. In the UK, BBC Four continue to champion the genre by airing The Killing, Borgen, and more recently, The Bridge alongside other series, such as Mammon and Arne Dahl. How can we begin to account for the popularity of the so-called Nordic Noir genre in the UK and beyond? How has this impacted other texts outside of the Scandinavian Peninsula? What can audiences and fan cultures teach us about this phenomenon? More simply, why Nordic Noir and why now?The term itself, Nordic Noir, has also grown beyond its initial ambit to encompass multiple genres rather than restricted to crime or the police procedural. Arrow Films releases Scandinavian drama on the Nordic Noir label which includes crime, but also, other genres, such as history (Anno 1790), for instance. In this way, the genre has expanded in significant ways as a ‘cultural category’ that is discursively constructed rather than confined to a limited and finite designation. Following Jason Mittell, the Nordic Noir genre ‘operates in an ongoing historical process of category formation genres are constantly in flux, and thus their analyses must be historically situated’ (2004: xiv). This collection aims to offer a varied range of perspectives on the Nordic Noir phenomenon and invites scholars to submit abstracts of 300 – 500 words. I am particularly interested in audiences and fan cultures, but other avenues of exploration may include (but not limited to):

· Genre analysis.
· History
· Society and Culture.
· Literature, Cinema, Television.
· Non-Crime texts (such as Akta Manniskor or Anno 1790 and so forth).
· Reception and Audiences.
· Gender.
· Sexuality.
· Representation.
· Influence and impact in other cultures.
· The new wave of literature.
· Industry.
· Branding.

All proposals will be considered within the remit of Nordic Noir and its impact. Deadlines for abstracts: October 1st 2014. This will form part of the proposal to Edinburgh University Press who have expressed an interest in the project. Abstracts to be forwarded to: billyproctor@hotmail.co.uk. Please send any queries, ideas etc to the same.

Call for Submissions: Edited collection on the CW television series Arrow

July 2, 2014 by

Call for Submissions: Edited collection on the CW television series Arrow

Editors: Jim Iaccino, Cory Barker, and Myc Wiatrowski

In just two years on the air, the CW’s Arrow has garnered both fan and critical acclaim for its ambitious storytelling, well-produced action sequences, and solid performances. Arrow’s stories and characters offer opportunities for discussions of justice and vigilantism, masculinity, dual identities, and aesthetics. Furthermore, the series has thrived in adapting DC Comics stories and characters to television, but also in translating the spirit and stylistic flourishes of comics to the televisual medium. Arrow therefore also raises important questions about media franchising, adaptation, medium specificity, and industry trends. As a young series, very little has been written about Arrow in academic circles. This collection of essays seeks to provide the opening large-scale investigation into the CW series and examine Arrow from multiple perspectives and disciplines.

Potential topics for discussion include, but are not limited to:

Representations of masculinity, femininity, race, sexuality, class, and family within Arrow
Explorations of justice, violence, the greater good, and morality within Arrow
Examinations of secret (and dual) identities, teamwork, and secret keeping within Arrow
Deceptions of a “realistic” superhero story and the slow introduction of more fantastical elements within Arrow
Arrow’s narrative techniques, including the preponderance of flashbacks and serialization
Arrow’s fight choreography and action set pieces
Chapters discussing individual episodes or story arcs within Arrow
Chapters discussing particular character arcs or relationships (Oliver-Felicity, Oliver-Slade, Thea-Roy, etc.) within Arrow
Arrow as an adaptation of the pre-existing Green Arrow stories and its employment of characters and arcs from the larger DC Comics universe
Evolution of the Arrow figure from the Smallville series to the current show
Arrow as part of the recent push for superhero series on television (including comparisons between Arrow and Marvel’s Agents of S.H.I.E.L.D., Arrow and The Flash)
Critical reception to Arrow
Arrow themes in popular culture
Fan readings, productions, and activities related to and about Arrow
This collection is under contract with McFarland, so all that remains is securing the contributions in a timely fashion for a planned text publication in late 2015-early 2016.

The deadline for proposals of 500 words is August 31, 2014. Please email your abstract and a brief bio to jiaccino@thechicagoschool.edu. Please put “Arrow Abstract” in the subject line. If an abstract is selected for the collection, full essays of 5,000-7,000 words will be due by December 1, 2014.


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