Author Archive

CFP: Distributors, Discs and Disciples: Exploring the Home Media Renaissance, 23rd May 2015, University of Worcester, UK

October 24, 2014

Distributors, Discs and Disciples: Exploring the Home Media Renaissance

23rd May 2015, University of Worcester

Rationale:

Distribution is often been seen as the “invisible link” in the media industry, in terms of facilitating how films, television shows and other texts reach audiences. The rise of digital platforms, such as online rental services and bit torrents, recently changed this view and digital distribution is the focus of several recent publications. However, there has not been a mass shift towards purely digital media, and physical media releases are still sought out by fans and consumers. Special editions and box-sets for DVDs and Blu-Rays are frequently hyped up on social media, and from many countries around the world. Past formats also make for collectible items, such as VHS, Laserdisc, and HD-DVD. Terminology related to physical media hugely affects perceptions of exhibition and consumption, such as ‘box-sets’, ‘binge-watching’, and ‘marathon’.

Distributors have been recognised as the ones making all this possible. Media distribution labels often promote their own actions; or their actions are reported on by critics and journalists; or fans and consumers directly respond to their releases and related activities. Such activity takes place within a variety of contexts – from film festivals to conventions and Q&A sessions; from social media, to dedicated websites and themed public attractions. This also occurs in relation to a variety of media texts – from newer releases to older titles; from films previously unavailable, to those regularly watched and celebrated by many.

The result of the raising of the profile of distributors has been a Home Media Renaissance. This exists not only as an alternative to online digital media exhibition options, but as one that occurs alongside them. In addition to the recent academic study of legitimate and illegitimate methods of online downloading and streaming, the simultaneous desire to own physical media is prevalent.

The aim of this symposium is to discuss and debate how and why distributors are becoming so prolific in an increasingly digital age. Is this activity a reaction to shifts towards downloading and streaming? Are consumers increasingly attracted to these forms of media, or are distributors desperate to maintain their interest? Can it last?

Case studies and observations of particular titles are encouraged – whether they are films, television shows, or other media – and concern a particular genre, national context, authorship figure, or other categorisation. This can take the shape of a 20 minute paper, or a shorter presentation – for example, as part of a panel of lightning talks or speed-geeking.

Other potential topics could cover, but are not limited to:

Distribution Labels
Home Media Formats
Exhibition Methods
Consumption Habits
Fandom (e.g. social media, blogs, communities and groups, etc)
Marketing and Promotion
Creativity and Production within Distribution and Marketing
Critical Reception and Other Reactions
Awards and Recognition

All topics proposed will also be eligible for inclusion within an edited collection. The subject of the symposium has already gained early interest from some publishers.

Proposals should be sent via email to jlwroot@googlemail.com. Proposals should be no more than 200 words, with a brief biographical statement (100 words) attached. The deadline for these is 30th January 2015. Decisions of acceptance will be sent out by the end of February/early March. There will be the opportunity to extend the length of the symposium, and potentially host it at a different location, depending on the number of proposals.

Dr Jonathan Wroot
Sessional Lecturer, Film Studies,
Institute of Humanities and Creative Arts,
University of Worcester.
PhD awarded by UEA
Email: jlwroot@googlemail.com

CFP: Star Trek at 50 – special issue of Science Fiction Film and Television journal

September 24, 2014

Science Fiction Film and Television seeks submissions for a special issue on “Star Trek at 50.”

Since its premiere on September 8, 1966, Gene Roddenberry’s Star Trek has become shorthand for liberal optimism about the future, even as the franchise’s later entries have moved towards increasingly dark depictions of aging (ST II-VII), war (DS9), lifeboat ethics (VOY), and post-9/11 securitization (ENT). This internal tension has now culminated in the rebooted “Abramsverse” depiction that — while nominally directed towards reinvigorating the franchise by returning it to its youthful origins— has seen the Spock’s home planet of Vulcan destroyed by terrorists (ST) and the Federation itself corrupted by a coup from its black-ops intelligence wing (STID).

SFFTV invites fresh approaches to Star Trek media in the context of its amazing longevity and continued popularity, with possible emphases on:
* revivals, retcons, and reboots
* canon and canonicity
* Star Trek and/as “franchise”
* fan cultures, fan productions, and fan sequels
* Star Trek ephemera and paratexts
* lost episodes and unproduced scripts
* parody and pastiche (Galaxy Quest, Star Trek XXX, “The Wrath of Farrahkhan”)
* spinoff media like video games and comics
* Star Trek and politics
* Star Trek and science/technology/invention
* Star Trek and race
* Star Trek, sex, gender, and orientation
* Star Trek and disability
* Star Trek and aesthetics
* Star Trek and aging
* Star Trek’s influence on other works or on the culture at large
* Star Trek and other Roddenberry productions (The Questor Tapes, Earth: Final Conflict, Andromeda)

Articles of 6,000-9,000 words should be formatted using MLA style and according to the submission guidelines available on our website. Submissions should be made via our online system at http://mc.manuscriptcentral.com:80/lup-sfftv. Articles not selected for the special issue will be considered for future issues of SFFTV.Any question should be directed to the editors, Mark Bould (mark.bould@gmail.com), Sherryl Vint (sherryl.vint@gmail.com), and Gerry Canavan (gerrycanavan@marquette.edu). The deadline for submissions is September 1, 2015, with anticipated publication in Star Trek’s 50th anniversary year.

Science Fiction Film and Television is a peer-reviewed journal published three times a year by Liverpool University Press. Edited by Mark Bould (UWE), Gerry Canavan (Marquette) and Sherryl Vint (UC RIverside), with an international board of advisory editors, it encourages dialogue among the scholarly and intellectual communities of film studies, sf studies and television studies. We invite submissions on all areas of sf film and television, from Hollywood productions to Korean or Turkish sf film, from Sci-Fi Channel productions to the origins of SF TV in Rod Brown of the Rocket Rangers or The Quatermass Experiment. We encourage papers which consider neglected texts, propose innovative ways of looking at canonical texts, or explore the tensions and synergies that emerge from the interaction of genre and medium. We publish articles (6000-8000 words), book and DVD reviews (1000-2000 words) and review essays (up to 5000 words), as well as archive entries (up to 5000 words) on theorists (which introduce the work of key and emergent figures in sf studies, television studies or film studies) and texts (which describe and analyse little-known or unduly neglected films or television series).

New issue (Vol 17, Sept 2014) of Transformative Works and Cultures journal published

September 15, 2014

A new issue (Volume 17) of Transformative Works and Cultures journal has now been published. You can read it here:

http://journal.transformativeworks.org/index.php/twc/issue/view/18

The Table of Contents are as follows:

Theory
Redefining genderswap fan fiction: A Sherlock case study
Ann McClellan

How to do things with fan subs: Media engagement as subcultural capital in anime fan subbing
Douglas Schules

Bull in a china shop: Alternate reality games and transgressive fan play in social media franchises
Burcu S. Bakioglu

Praxis
Twinship, incest, and twincest in the Harry Potter universe
Vera Cuntz-Leng

Iron Man in Chinese boys’ love fandom: A story untold
John Wei

Fan edits and the legacy of The Phantom Edit
Joshua Wille

Fan fiction metadata creation and utilization within fan fiction archives: Three primary models
Shannon Fay Johnson

Symposium
Fan fiction and midrash: Making meaning
Rachel Barenblat

Wordplay, mindplay: Fan fiction and postclassical narratology
Veerle Van Steenhuyse

Why they won’t save us: Political dispositions in the conflicts of superheroes
Woody Evans

Preserving digital remix video
Rebecca Fraimow

Performances of innocence and deviance in Disney cosplaying
Maria Patrice Amon

Fandom and the fourth wall
Jenna Kathryn Ballinger

Interview
Exploring fandom, social media, and producer/fan interactions: An interview with Sleepy Hollow’s Orlando Jones
Lucy Bennett, Bertha Chin

Spreadable media: Creating value and meaning in a networked culture
Louisa Ellen Stein

Review
Fanged fan fiction: Variations on Twilight, True Blood, and The Vampire Diaries, by Maria Lindgren Leavenworth and Malin Isaksson
Anne Gilbert

Manga’s cultural crossroads, edited by Jaqueline Berndt and Bettina Kümmerling-Meibauer
Nicolle Lamerichs

Popular music fandom: Identities, roles, and practices, edited by Mark Duffett
Lucy Bennett

CFP: Joy Devotion: The Importance of Ian Curtis and fan culture

September 13, 2014

JOY DEVOTION:
The Importance of Ian Curtis and fan culture CFP
New book to be released exclusively on Headpress
Joy Devotion: The Importance of Ian Curtis and fan culture in a 2.0 Economy will explore the lasting legacy in the fan, post-punk and dot com economy of Joy Division lead singer Ian Curtis, and what such dedication says about the larger issues facing us in a modern world. Essays on Curtis, exploring ideas of memory, death, technology, fandom and secular religion will be complimented by photos taken at the Ian Curtis Memorial Stone every month for a year, beginning fall 2009 through 2010. Stakeholders in the Curtis legacy, from fans to artists, will also contribute their personal insights, allowing for intimate and never before allowed access to the very people who Curtis has continued to influence and inspire long past his untimely death in 1980.
We are looking for contributions in the following areas:
• The growing importance of Joy Division and Curtis since his death
• Bootlegs, bootleg culture and ideas of duplication, replication and distribution;
• On-line communities, social media and the evolution of fan connection via technology
• Joy Division tribute bands and or acts
•Ideas of Englishness as exported via Joy Division to the rest of the world
• How the images of Joy Division and Ian Curtis have played a role in memory, history and iconography
• Military and political messaging in the band’s name, ideals and legacy
• Films about and featuring Joy Division
• The non-touring band- how Joy Division became a global phenomena without international touring
•Memory, fandom and secular religion
Other ideas are welcome. Any questions or inquiries please send to jkomedia@gmail.com.
Please send a 500 word abstract of your ideas to jkomedia@gmail.com by November 1, 2014 for consideration. We will contact all interested parties by February 1, 2015, with a decision in regards to inclusion.
A full chapter will consist of 2,000-3,000 words, and will be due no later than May 1, 2015.

CFP: proposed panel on Victorian Texts in Contemporary Fandoms, VSAWC 2015 “Victorian Bodies”

September 13, 2014

Proposed Panel
VSAWC 2015 “Victorian Bodies”
Manteo Lakeside Resort
Kelowna, British Columbia
April 10-11, 2015
Deadline: September 25, 2014.

“Modified in the guts of the living”: Victorian Texts in Contemporary Fandoms

In a practice Henry Jenkins famously refers to as “textual poaching,” fans appropriate characters and narratives from canonical texts in order to adapt and rewrite them in novel ways, and for a variety of reasons: artistic, political, communal, financial, emotional, sexual, and other. Contemporary fandoms are vast in scope, multi-platformed, multimedia subcultures which operate via an economy of participation that has typically held itself apart from academic study, while simultaneously being scorned as an ‘illegitimate’ subject of study by the academy. Recently, though, scholars from anthropologists to sociologists and literary theorists have begun to turn their attention to fandom and fanfiction as rich sites of cultural meaning. This attention is often a source of discomfort to the fans themselves, even as a new hybrid, “acafan” attempts to bridge the divide.

Hybridity is the essence of these transformative works. Lev Grossman states, “Fanfiction has become wildly more biodiverse than the canonical works that it springs from. It encompasses male pregnancy, centaurification, body swapping, apocalypses, reincarnation, and every sexual fetish, kink, combination, position, and inversion you can imagine and a lot more that you could but would probably prefer not to. It breaks down walls between genders and genres and races and canons and bodies and species and past and future and conscious and unconscious and fiction and reality” (Forward, Fic).

This diversity includes Victorian texts; in multiple fandoms, fanfiction authors have used Victorian source material as a starting point for writing about characters from literature, television, film and celebrity culture, creating what are called, in fan parlance, “crossovers”. These crossovers address lacunae in both canons, overwriting a broader variety of experience onto each source text.

This panel seeks to explore that variety: the biodiversity of Victorian texts within contemporary fandoms. How are the body of the text and the bodies in the texts altered by fan authors? What does this reveal about the canonical texts, the bodies that inhabit them, the bodies that wrote them, and the bodies that produce and consume them now? How, as W.H. Auden might have put it, are Victorian texts “modified in the guts of the living”?

The panel chairs are looking for contributors a planned panel at the Victorian Studies Association of Western Canada 2015 conference in Kelowna, British Columbia, Canada, on April 10-11 (original cfp here: http://web.uvic.ca/vsawc/vsawc-conferences/2015-conference/). Please submit a 250-word abstract to Elise Mitchell (elise_mitchell@uqac.ca) and/or Elyssa Warkentin (Elyssa.Warkentin@umanitoba.ca) by September 25, 2014.

CFP: NeMLA 2015 – Queer/Geek: Theorizing the Convergence of Fandom, Camp, and Other Deviances, April 30 – May 3, 2015, Toronto, Ontario

September 4, 2014

46th Annual Convention, Northeast Modern Language Association
April 30 – May 3, 2015
Toronto, Ontario

The queer-, trans-, and geek-focused webcomic “Riot Nrrd” once joked about how disorienting it was to be at a geeky convention because there was no way to tell from the attendees’ appearance whether they were queer or just straight nerds. This confusion between identities points toward a much larger convergence of queer and geek cultures. Practices such as cosplay, fanfic (particularly slash), the foundation of homosocial communities (as with gamers) and other forms of geek/fan labor closely resemble those of camp, drag, and what Eve Kosofsky Sedgwick calls “reparative reading.” In fact, Sedgwick paves the way for this convergence with her suggestion that “queer” need not necessarily imply gay or lesbian but perhaps does fundamentally refer to shame, stigma, and practices of responding to those feelings with exuberant, performative adventures and deep attachment to cultural objects as resources of self-making and survival—especially in a world inimical to the people who do not conform to its expectations. Non mainstream sexual and gender expression, as well as creative experiments with post-human and other transformative identities or alter-egos, comprise important elements of various geek cultures. Meanwhile, the canard of the “fake geek girl” (like the pejorative “fag,” when applied to nerds and other outsiders in order to emasculate) reveals the deep strains of misogyny—as well as homophobia and white supremacy—that also run through geek culture. We seek papers that theorize queer and geek subcultures, identities, and practices with regard to their intersecting possibilities.

Deadline for abstracts: September 30

According to the new guidelines set by NeMLA, no abstracts will be accepted through email. Instead, interested scholars should submit abstracts through the NeMLA website.

Please submit 300-500 word abstracts and a brief CV through the NeMLA website here: https://nemla.org/convention/2015/cfp.html#cfp15202

For questions about the new system, you can contact NeMLA web support here: websupport@nemla.org.

Organisers: Alec Magnet & Balaka Basu
amagnet@gc.cuny.edu, bbasu@uncc.edu

CFP: Panel on Fan Spaces at PCA/ACA conference, New Orleans (Apr. 1-4, 2015)

September 4, 2014

As the popularity of this year’s San Diego Comic Con proved, fan spaces are increasingly important culturally and financially. Media creators and producers have come to acknowledge the significance of their fans and the need to communicate with them, particularly through social media. Fans, however, also insist upon their own self-contained spaces where they can share their opinions and observations, as well as transformative and fan works, without the threat of censorship or harassment. These spaces exist both physically (as in, for example, in the form of fan conventions and fan meet ups) and virtually through social media platforms such as Tumblr, twitter, and Ao3.

I am looking for papers on virtual and physical fan spaces for a panel in the Fan Studies area at the Popular Culture Association/American Culture Association (PCA/ACA) conference in New Orleans April 1-4, 2015. Possible topics may include, but are not limited to:

-virtual fan spaces including Tumblr, Archive of our Own, and fanfiction.net
-creating or delineating fan spaces
-physical fan spaces including meetups and fan conventions
-for-profit conventions such as DragonCon or SDCC
-fan run conventions such as Otakon, 221bCon, or GallifreyOne
-policing and harassment in fan spaces
-fan spaces functioning as or failing to function as “safe spaces”
-cosplay and crossplay
-language of fan spaces

Priority will be given to papers that go beyond introductory level treatment of their topics.

Submissions should be sent directly to my email (ejnielsen@northwestern.edu) and should include the author’s CV, short biography (100-150 words), and abstract (100-250 words). If papers are chosen for the panel, they must be submitted to the PCA’s website at http://ncp.pcaaca.org. Please indicate at that time whatever audio/visual needs you may have.

Deadline: No later than Oct. 1, 2014

PCA/ACA Conference website: http://pcaaca.org/

Email: ejnielsen@northwestern.edu

CFP: Fan Studies in the Classroom

September 4, 2014

Fan Studies in the Classroom strives to connect the popular with the scholarly, using popular and fan cultural artifacts to engage student interest, motivate student research, and cast a new light on learning objectives. Increasingly, teachers in all disciplines incorporate fan creations, remix concepts, and media studies approaches in the classroom. These exercises range from using fan materials as examples, to having students study remix works, to asking students to rewrite canon.
Instructors from all institutions and serving varieties of student populations are invited to submit abstracts for essays about using remix/fan studies approaches in the classroom, with a focus on practice and instruction. Fan Studies in the Classroom will be an interdisciplinary, edited collection.

University of Iowa Press has expressed interest in publishing the volume. Authors of selected abstracts will be asked to write a 5,000 word essay and invite a student to submit a response to the assignment described.

Abstracts of 250-500 words
Short biographical statement
Current MLA guidelines, please no endnotes.
Submit to Katherine Howell khowell@gwu.edu by December 18, 2014.

CFP: PCA Conference – Fan Culture and Theory, April 1-4 2015, New Orleans, USA

September 1, 2014

POPULAR CULTURE ASSOCIATION
FAN CULTURE AND THEORY
APRIL 1-4, NEW ORLEANS

CALL FOR PAPERS
DEADLINE: NOVEMBER 1, 2014
Proposals for both panels and individual papers are now being accepted for all aspects of Fan Culture and Theory, including, but not limited to, the following areas:

•Fan Fiction
•Fan/Creator interaction
•Race, Gender and Sexuality in Fandom
•Music Fandom
•Reality Television Fandom
•The Internet and Fandom – Live Journal, IMDB and beyond
•Fan Communities
•Fan Media Production – icons, fanvids, fan art and filk.
•Fans as Critics
•Fan videos
•Fan crafts
•Fan pilgrimages

Please submit abstracts of 100-250 words with relevant audio/visual requests online. Click here for instructions.
Panel proposals should include one abstract of 200 words describing the panel,
accompanied by the abstracts (250 words) of the individual papers that comprise the panel. Graduate students are encouraged to submit proposals.
All Proposals & Abstracts Must Be Submitted Through The PCA Database.
Please submit a proposal to only one area at a time. Exceptions and rules

Please send all inquires to:
Katherine Larsen
The George Washington University
Ames Hall 223
2100 Foxhall Road NW
Washington D.C. 20007
(202) 242 5090
klarsen@gwu.edu

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

August 29, 2014

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.


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