Author Archive

CFP: Daughter of Fangdom: A Conference on Women and the Television Vampire

October 12, 2014

Daughter of Fangdom:
A Conference on Women and the Television Vampire
18 April 2015
The University of Roehampton

Following the success of TV Fangdom: A Conference on Television Vampires in 2013, the organisers announce a follow-up one-day conference, Daughter of Fangdom: A Conference on Women and the Television Vampire. Though Dracula remains the iconic image, female vampires have been around at least as long, if not longer, than their male counterparts and now they play a pivotal role within the ever expanding world of the TV vampire, often undermining or challenging the male vampires that so often dominate these shows. Women have also long been involved in the creation and the representation of vampires both male and female. The fiction of female writers such as Charlaine Harris and L.J. Smith has served as core course material for the televisual conception and re-conception of the reluctant vampire, while TV writers and producers such as Marti Noxon (Buffy) and Julie Plec (The Vampire Diaries and The Originals) have played a significant role in shaping the development of the genre for television.

Since vampires are not technically human, the terms male and female may apply, but representation of gender has the potential to be more fluid if vampires exist outside of human society. Given the ubiquity of the vampire in popular culture and particularly on TV, how is the female represented in vampire television? What roles do women have in bringing female vampires to the small screen? In what ways has the female vampire been remade for different eras of television, different TV genres, or different national contexts? Is the vampire on TV addressed specifically to female audiences and how do female viewers engage with TV vampires? What spaces exist on television for evading the gender binary and abandoning categories of male and female vampires altogether?

Proposals are invited on (but not limited to) the following topics:
TV’s development of the female vampire
Negotiation of gender and sexuality
Evading binaries
Female writers/ directors/ producers/ actors in vampire TV
Adaptation and authorship
Genre hybridity
Female vampires in TV advertising
New media, ancillary materials, extended and transmedia narratives
Intersection with other media (novels, films, comics, video games, music)
Audience and consumption (including fandom)
The female and children’s vampire television
Inter/national variants
Translation and dubbing
We will be particularly interested in proposals on older TV shows, on those that have rarely been considered as vampire fictions, and on analysis of international vampire TV. The conference organisers welcome contributions from scholars within and outside universities, including research students, and perspectives are invited from different disciplines.

Please send proposals (250 words) for 20 minute papers plus a brief biography (100 words) to all three organisers by 15th December 2014.
s.abbott@roehampton.ac.uk
lorna.jowett@northampton.ac.uk
mike.starr@northampton.ac.uk

Conference Website: http://tvfangdom.wordpress.com/

This conference is run in collaboration with the Centre for Research in Film and Audiovisual Cultures at the University of Roehampton and the Centre for Contemporary Narrative and Cultural Theory at the University of Northampton.

Call for Chapters – Digital Leisure Cultures: Critical Perspectives

October 10, 2014

CALL FOR CHAPTERS: Digital Leisure Cultures: Critical Perspectives (Routledge)

Following the 2014 Leisure Studies Association annual conference – hosted at the University of the West of Scotland (UWS), Professor David McGillivray, Professor Gayle McPherson and Dr Sandro Carnicelli are co-editing an edited collection on Digital Leisure Cultures.

The collection considers what the digital age means for our understandings of leisure culture in the 21st century, placing emphasis on the changing nature of leisure cultures brought about, intensified, or accelerated in a digital world. The digital turn in leisure has opened up a vast array of new opportunities to play, learn, participate and be entertained – opportunities that have transformed what we recognise as leisure pastimes and activities. People communicate with each other in different ways, more intensively and at greater speed. Technological advances enable people to create and distribute music, videos, images and ideas on a handheld device at the touch of a button or swipe of a touchscreen (Solis, 2012). Offering critical consideration of the ‘costs’ associated with digital leisure cultures on individuals – as well as organisations and societies – the book offers vital intervention into debates within Leisure Studies (including sport, tourism, and events sectors) about the extent to which the digital turn has led to something wholly positive. Does it free us up from the limits of our analogue lives or are we have simply caught up in a web of surveillance, control and corporately controlled leisure – the darker side of digital?

Proposed structure

The book will explore a range of conceptual issues brought to the fore by the digital turn using leisure culture case studies. Each chapter should detail its theoretical trajectory and provide at least one case study exemplar that will explain its relevance for a specified leisure culture (e.g. sport, event, music, tourism, culture).  The book will be divided into three main parts:

Producing digital leisure cultures
Consuming digital leisure cultures
Regulating digital leisure cultures

Each part will be supplemented with a series of sub-themes (or topics), which could include (but are not restricted to):

Resistance
Surveillance
Acceleration
Control
Ownership
Privacy
Commodification and commercialization
Digital divides
Morality and ethics
Moral panics
Risk
Fandom
Health and the body
Social media and digital storytelling
Experiences 

Submission guidelines

We are looking to form a proposal for a book of approximately 12-16 chapters and authors are invited to submit abstracts of no more than 350 words (excluding indicative references) in a Word document to be emailed to David McGillivray david.mcgillivray@uws.ac.uk by Friday 28th November, 2014.

Abstracts should include the following information:
Proposed article title
Proposed author names and affiliations
Part (production, consumption, regulation) and theme being addressed
Purpose/aim of the chapter
Principal body of literature/theoretical framework
Indicative case study
Key findings/conclusions
Some key dates (estimations)

Submission of abstracts:

Friday 28th November 2014

Submission of full chapters (pending approval of proposal): March 2015

Publication: end of 2015

CFP for Conference on Fandom and Religion

October 6, 2014

The University of Leicester would like to announce a Call for Papers for a conference to be held 28th-30th July 2015 on Fandom and Religion. This event is organized by the UK Theology, Religion and Popular Culture Network with the support of UskoMus Research Network (University of Turku and at Åbo Akademi University), CODEC (University of Durham), Institute for Theology, Imagination and the Arts (University of St Andrews), Network for Religion in Public Life (University of Exeter), and the Christian Congregational Music Studies Network (congregationalmusic.org).

The conference seeks short papers (up to 20 mins when delivered) and panel sessions (3 or 4 contributors, 1.5 hours) are invited either directly on the conference theme (Fandom and Religion) or on any aspect of study relating to popular culture and religion. ‘Popular culture’ is to be understood widely (e.g. TV, film, radio, media, music, sport, videogames) and ‘religion’ may mean organized religion, religiosity, spirituality. It is expected that the conference will need to address the question as to what constitutes ‘religion’ in Western culture, as well as examining how popular cultures are used ‘religiously’, how religious practices and beliefs are influenced by practices of popular cultural consumption, and how religion appears and is carried within culture in its many forms.

The conference is inter-disciplinary (especially sociology, cultural studies, religious studies and theology) and welcomes researchers working in academic and practitioner (media, culture, faith community) settings. Papers which draw together and reflect on the results of empirical studies are especially welcome.

For the event, we expect to group papers with similar concerns, possibly in the following groupings:
• Popular Culture as Religion
• Religion in Popular Culture
• Theory Papers/Literature Reviews

We shall, however, respond to the range and style of papers/panels offered in drawing up the programme.
We welcome proposals of papers and panels on such topics as:
• Case-studies of fan culture (TV, sport, film, music)
• Celebrity worship
• Sport and/as religion
• The impact of celebrity culture on religious practice
• Religious beliefs and practices within popular culture
• Media practices and/as religion
• Uses of popular culture by religious groups
• Theoretical debates about ‘fan culture and/as religious practice’
• Theories of religion as applied to popular culture use

For Short Paper proposal, please send a Word file containing:
• The title of your paper
• A 250-word abstract of what you would deliver

Do not include your name or institution in the file. Include your name and institutional affiliation (where appropriate) and the title of your paper in the e-mail you send to accompany your abstract. This will enable anonymous consideration of the paper proposals.

Deadline for receipt of all short paper proposals: Monday January 12th, 2015 (noon, UK time).

Participants would be expected to book their conference place by the end of April 2015.

All proposals should be sent to: ijw3@le.ac.uk

CFP: From Robson Green to Sean Bean: Mapping Northern Stardom on Popular British Television

September 10, 2014

Special dossier for the Journal of Popular Television

Edited by Beth Johnson (Keele University) and David Forrest (University of Sheffield)

We invite contributions that explore the stars of the North of England on contemporary British television. Considering and examining the intersections between stardom, Northern places, spaces and identities, the purpose of this dossier is to argue for the existence of a Northern consciousness on television that is characterized through the figure of the Northern star. In particular, this dossier is to explore how the public and private personas of Northern stars are frequently merged when such performers enact or perform Northern characters. Accordingly, we would like to receive proposals for full length articles/case-studies of specific Northern television stars. In particular, we encourage proposals (though proposers are not limited to these) on the following:
         
Robson Green         
Sean Bean       
John Simm          
Sue Johnston          
Ricky Tomlinson          
Caroline Aherne         
Karl Pilkington        
Sarah Lancashire         
Chris Bisson          
Lesley Sharpe       
Maxine Peake         
Ant and Dec         
Christopher Eccleston          
Gina Mckee

Please submit an extended abstract of 500 words to b.l.johnson@keele.ac.uk and d.forrest@sheffield.ac.uk (entitled Northern Stardom), by 30th September 2014. Please also include a brief biographical note.  

We plan to complete evaluation of abstracts by the end of October.  Those accepted will be asked to submit completed article, to a maximum of 8,000 words, by the end of March 2015. Articles will then be submitted for peer review.

CALL FOR CONTRIBUTORS: SPECIAL ISSUE OF INFINITE EARTHS – “NORDIC NOIR & THE SCANDINAVIAN INVASION”

March 1, 2014

CALL FOR CONTRIBUTORS: SPECIAL ISSUE OF INFINITE EARTHS – “NORDIC NOIR & THE SCANDINAVIAN INVASION”

Since the publication and inordinate success of Stieg Larsson’s The Girl with the Dragon Tattoo series of novels globally, the genre of so-called ‘Nordic Noir’ has fast become a cultural phenomenon both in the United Kingdom and on the international stage. BBC Four’s recent broadcast of The Killing, The Bridge, Borgen and Wallander have been met with critical acclaim and influenced a surge in the popularity of Scandinavian Crime Fiction in film, perhaps more pointedly, literature. Lars Kepler, Jusse Adler-Olsen, Hakan Nesser, Jo Nesbo, and many more besides.

This special issue of Infinite Earths seeks contributions that analyse, dissect or review these texts from inter-disciplinary perspectives. The pieces should range from 1000 words onwards and may include reviews of TV series, books or films that fit within this purview. Topics can range from the following (but if you have an idea you would like to share, please do not hesitate in contacting me):

The Bridge
The Killing (series and novels)
Borgen
Literature
Sjowall and Wahloo
Henning Mankell
Stieg Larsson
Hakan Nessen
Jo Nesbo (films and books)
Jan Costin Wagner

Deadline: 1 April 2014

Contact: billyproctor@hotmail.co.uk

http://www.infiniteearths.co.uk

Call for Chapters: Media Ethics, Edited Collection

February 17, 2014

Call for Chapters: Media Ethics, Edited Collection

Editors:
Paul Booth, DePaul University
Amber Davisson, DePaul University

Among readers as well as teachers and students, there is a strong interest in understanding the complex ethical issues raised by seemingly omnipresent media forces. We invite submissions for an edited collection that deals broadly with current issues in contemporary media ethics. The book will deal with ethical issues facing both media producers and consumers. We welcome essays that discuss ethical issues facing media professionals in both print and broadcast journalism, advertising, public relations, and entertainment. These essays may deal with issues raised by emerging technologies, convergence media, or more established mass media outlets. Beyond the discussion of ethical issues facing media professionals, we are also invite essays that address private media consumption and production practices. We are interested in both classical and contemporary philosophical approaches to media ethics.

Essays may explore, but are certainly not limited to, the following topics:

  • Changing perspectives on media and privacy
  • The evolution of intellectual property rights (copyright, trademark, and patent law)
  • Citizen Journalist
  • Pornography
  • Information Ethics
  • Comedy News Shows
  • Political Opinion/Commentary Shows
  • Photoshop
  • Defamation
  • Diversity and Representation in Film and Television
  • Native Advertising
  • Public Relations and Strategic Communication

Please submit proposals of 300-500 words with a brief biographical statement and contact information via email attachment to Paul Booth and Amber Davisson at adavisso@depaul.edu no later than March 30th 2014. Notice of acceptance will be sent out by May 2014 and completed essays accepted for publication will be due in September 2014.

CFP: New Perspectives on Cinematic Spectatorship, Digital Culture & Space: Re-evaluating Exhibition, Participation and Interaction

January 14, 2014

CFP: New Perspectives on Cinematic Spectatorship, Digital Culture & Space: Re-evaluating Exhibition, Participation and Interaction

Throughout the history of the moving image interrogations of film as text have arguably taken precedence over analysis of cinema as space. The film industry and film academia both assume, and thus assert, a dominant understanding of the environmental architecture of cinema based on a set dynamic between projector, screen and viewer. Ingrained over time from these spatial parameters is an almost taken-for-granted idealisation of the unique experience of film viewing: the ‘cinematic dispositif’. Despite the cultural hegemony of the traditional ‘cinematic dispositif’, in a 2008 article André Parente and Victa de Carvalho suggest that film history is littered with (often overlooked) variations and experimentations in cinema’s spatial parameters. Writing from the context of the binary between cinema and art they suggest that contemporary transformations “call for a reproblematisation of the dispositif and its conceptual, historical and conceptual aspects” (2008: 39). This issue of Networking Knowledge seeks to publish a range of articles that interrogate and problematise the ‘cinematic dispositif’ in light of the transformative effects of digital culture.

A raft of digital, technological advances is affecting viewing practices, which in turn, are challenging the ‘sacrosanct’ space of the cinema auditorium in myriad ways. In the early nineties Thomas Elsaesser postulated a revolutionary time for cinema referencing reactions to the influence of television and VCR and only touching on the future virtual spaces to come. Since then, a host of institutional, technological and cultural transformations has engendered a redefinition of the production, distribution and exhibition landscape. Further than this the spectrum of outcomes and possibilities of cinema metamorphosing as a spatial, experiential, interactive, phenomenological construct have only just begun to be realised. This issue seeks to contextualise and theorise the relationship between bodies, spaces, technologies and screens in the digital age, providing a philosophical interrogation of contemporary cinematic experience. We invite articles in subject areas, which may include but are not limited to:

New theorisations of cinematic spectatorship
New philosophies of bodies/spaces/screens
The effect of new modes of distribution in cinematic viewing
Influence of communications technologies and social media
Forms of interactivity and cinematic immersion
New filmmaking practices and tools
Trans-media effects
Issues for film criticism, journalism and writing
Debates around the future of Film Studies as a discipline
Analysis of practices designed to preserve a ‘traditional’ understanding of cinema.

We invite articles by postgraduate and early career researchers, which are 5,000 to 6,000 words long. Please send abstracts of up to 300 words along with a 50-word biography by April 1st 2014 to Dario Llinares (dario.llinares@falmouth.ac.uk) and Sam Ward (aaxsjw@nottingham.ac.uk). Articles will be due on 1st August 2014. Please contact the editors for any further information.

Dr Dario Llinares and Dr Sarah Arnold, Falmouth University
Guest Editors

Sam Ward
Journal Editor

MASH 2013: Making and Sharing. Conference on audience creativity (CFP)

November 8, 2012

Call for Papers
MASH 2013:
Making and Sharing. Conference on audience creativity
July 4-5, 2013

This interdisciplinary conference aims to critically engage in the discourse on participatory culture and the implications of (new) media tendencies towards user-created content. The innovation and appropriation of cultural objects and texts by users, fans, and gamers have changed the media landscape profoundly. We aim to engage in debates about the cultural contexts of audience activities, and the implications of the media-saturated networks in which their cultures flourish.

Topics include, but are not limited to:
1. Creative Industries

    •changing professional fields
    •user-industry relations
    •crowd funding
    •fan/user labor
    •copyright

2. Creative Audiences and Practices

    •cultural citizenship
    •fan activism, hacking, cheating
    •creative appropriations made by audiences
    •fidelity and transformation of audiences
    •affect: care of enthusiasts/hobbyists
    •media literacy
    •non-users

3. Methods and Approaches

    •fan studies
    •game studies
    •(internet) ethnography
    •phenomenological accounts of internet studies
    •ethical questions related to methodology

The conference aims to bridge academia and practice by also including activities and panels that are chaired by fans and game designers rather than scholars. We appreciate the submission of innovative panel ideas and teams that could help strengthen this idea.
(more…)

Call for Papers: Pop Culture and World Politics Conference

September 1, 2012

Pop Culture and World Politics v5.0
9-11 November 2012
Hobart and William Smith Colleges – Geneva, NY 14456 USA

** KEYNOTE SPEAKERS **
Anne Elizabeth Moore, award-winning author, publisher, zinester and feminist activist
Reverend Billy, of the Church of Not Shopping
Elisa Kreisinger, pop culture pirate and feminist video remix artist
Legs McNeil (tentative), legendary author and rock music historian

What do zombies have to do with world politics? How might the Twilight sagas inform and illuminate our way of understanding world politics and changes in the global political economy? In what ways do videogames, the sales of which now exceed those of music CDs and DVDS combined, shape the identities and political understandings of frequent players? Is visual media destined to replace print as the primary source of news and entertainment in advanced industrial societies and how might this affect the construction of meaning of world affairs? As a means of communication readily available to an ever-expanding number of individuals and groups, how might the internet offer paths of resistance to corporate and Western news and entertainment hegemony? How can tango dancing make the world a more peaceful place?

This conference explores the multiple ways of investigating the intersections of world politics and the production, circulation, content, and consumption of various popular cultural forms. Engaging a range of disciplines and practices in the social sciences, humanities and the arts, the conference encourages participants to question what terms such as ‘global,’ ‘popular,’ and ‘culture’ mean both in isolation and when used in conjunction. It asks in what ways and with what effects popular culture has become a series of sites at which political meaning is made, where political contestation takes place, and where political orthodoxy is reproduced and challenged. The conference provides a highly-focused and interdisciplinary environment in which the increasing numbers of scholars that are engaging in culture-related research can present their work and participate in the kind of extended discussion that larger conferences do not permit. The conference aims to provide an intimate forum at which debates about interdisciplinary methods and theoretical approaches can be developed to facilitate debate across disciplines that share interests in world politics and culture. We welcome proposals for performances, screenings, panels, or individual papers, on any aspect of world politics and popular culture.

Building on the preceding four PCWP conferences, version 5.0 will be held on the campus of Hobart and William Smith Colleges, a small liberal arts institution located in the beautiful Finger Lakes (wine-making) region of western New York state.

If you are interested in attending the conference please submit a brief abstract of your paper, panel proposal (including the names and titles of each presentation) or artistic contribution (max. 450 words) to PCWP@hws.edu. The deadline for proposals is 5 September 2012.
www.hws.edu/PCWP2012

Call for Papers: Superhero Synergies: Studying Genre in the Age of Digital Convergence

September 1, 2012

“Superhero Synergies: Genre in the Age of Digital Convergence”

Edited by
James Gilmore (UCLA) and Matthias Stork (UCLA)

Publisher: Scarecrow Press

Since the late 1990s, the proliferation of digital media has opened up a seemingly infinite horizon of narrative possibilities in transmedia storytelling. Traditional ideas about the look and the texture of cinema, television, and comics have equally undergone striking revision in the age of digital convergence. New technologies–including 3-D, video on-demand, and electronic tablets–change the ways we think about media production, aesthetics, and consumption. Digital media have made popular culture a malleable entity to be modified continuously. As a result, popular media do not exist in isolation, but converge into complex multidimensional objects. The Internet further relays this multidimensionality via discussion forums, fan fiction, and video-based criticism.

Nowhere has this phenomenon been more persistent, more creative, or sparked more discussion than in the superhero genre. While the genre is home to many of the most financially successful films of the last 15 years, it has also developed life in video games, digital comics, Internet criticism, video essays, novelizations, television programs, and other forms of media. These media may speak to each other–as in a video game based on the film The Avengers which is, in turn, based on a series of Marvel comic books–or incorporate and critique forms of media–as when the television series Heroes consciously employs comic book aesthetics as a central narrative component. The superhero genre thus forms an ideal lynchpin to examine the contemporary landscape of popular media convergence.

The goal of this anthology is to explore the intricate relationship between superheroes and digital media in an era of convergence. Specifically, we encourage contributors to consider analytical, research-driven, and theoretical work that tackles the problems and possibilities of convergence culture as it relates to the experience and study of superheroes in the contemporary world of digital media. While the anthology incorporates a theoretical dimension, we predominantly seek submissions that emphasize the experience of superheroes and analysis of superhero images in this expanding and converging digital landscape.

Topics may include but are not limited to:
* How do conceptions of “genre” and “narrative” change amidst the interaction of multiple digital media forms?
* Adaptation: How might superhero texts accent themselves as acts of adaptation? How do digital media and transmedia storytelling transform the notion of fidelity?
* Reception study: What opportunities do digital media present for spectators to interact with each other and the media texts, and what are the scope and shape of those fandom culture interactions (i.e. avatar creation, fan fiction, video essay criticism)?
* Textual/aesthetic analysis: How do the texts themselves–comics, films, video games, etc.–employ digital media and technology? In what ways do their aesthetics and structures communicate a converging digital landscape?
* Cultural studies: How do digital media inform the discourse of socio-cultural issues within the genre, its texts, and their reception? How might digital media convergence foster a more complex discourse of these social, cultural, or political issues central to the genre–or do they?
* Marketing aesthetics: How do the advertising strategies for individual texts take advantage of an array of new media technologies?
* Film criticism: How does contemporary criticism use digital media technology to analyze and chronicle the development of the superhero genre?
* Gender analysis: How are male and female bodies figured in the superhero genre, and how have those representations changed over time and across different forms of media?

Interested writers should submit a proposal of approximately 400-600 words. Each proposal should clearly state 1) the research question and/or theoretical goals of the essay, 2) the essay’s relationship to the anthology’s core issues, and 3) a potential bibliography. Please also include a brief CV. Accepted essays should plan to be approximately 6,000-7,000 words.

Deadline for proposals: November 1, 2012

Please send proposals to both contact e-mails:

James Gilmore: james.n.gilmore@gmail.com
Matthias Stork: mstork@ucla.edu

Publication timetable:
November 1, 2012 – Deadline for Proposals
December 15, 2012 – Notification of Acceptance Decisions
April 15, 2013 – Chapter Drafts Due
July 15, 2013 – Chapter Revisions Due
August 30, 2013 – Final Revisions Due

Acceptance will be contingent upon the contributors’ ability to meet these deadlines, and to deliver professional-quality work.

If you have any questions, please contact the editors.


Follow

Get every new post delivered to your Inbox.

Join 1,754 other followers