CFP: The Fan Studies Network 2015 Conference

February 12, 2015 by

Call for papers:
THE FAN STUDIES NETWORK 2015 CONFERENCE
27-28th June 2015
University of East Anglia, Norwich, UK

Keynote Speakers:
Dr Lincoln Geraghty (University of Portsmouth, UK)
Dr Suzanne Scott (The University of Texas at Austin, USA)

For three years the Fan Studies Network has provided an enthusiastic and welcoming space for academics in all stages of study interested in fans and fandom to connect, share resources, and develop their research ideas. Following the success of our first two conferences, we are delighted to announce our third annual event: FSN2015, taking place over two days at the University of East Anglia, 27-28th June 2015.
FSN2015 will feature two keynote speakers, both of whom have made a dynamic impact on the field. The first will be Dr Lincoln Geraghty, author of Living with Star Trek: American Culture and the Star Trek Universe (IB Tauris, 2007), American Science Fiction Film and Television (Berg, 2009) and Cult Collectors: Nostalgia, Fandom and Collecting Popular Culture (Routledge, 2014). The second keynote will be Dr Suzanne Scott, who, in addition to her published work on fandom in journals such as New Media & Society and Transformative Works and Cultures, is currently working on her forthcoming book Revenge of the Fanboy: Convergence Culture and the Politics of Incorporation.
We invite abstracts of no more than 300 words for individual 20 minute papers that address any aspect of fandom or fan studies. We also welcome collated submissions for pre-constituted panels. We encourage new members, in all stages of study, to the network and welcome proposals for presentations on, but not limited to, the following possible topics:

– Activism and fandom
– Pedagogy and Fandom
– Non technological practices in fandom
– Fan conventions
– Fandom and conflict
– Fan labour
– Non-Western fan cultures
– Ethics and methodology in fan studies
– Defining fandom
– Anti-Fandom and Non-Fandom
– Fan use of social media platforms
– Fandom (and) controversies
– Transculture and fandom
– The future of fan studies

We also invite expressions of interest (100- 200 words) from anyone wishing to host a short session of ‘speed geeking’. This would involve each speaker chairing a short discussion on a relevant topic of their choosing, and then receiving valuable feedback, making it ideal for presenting in-progress or undeveloped ideas. If you have any questions about this format of presentation, please contact Richard McCulloch at mccullochr@regents.ac.uk.
Please send any enquires/abstracts to: fsnconference@gmail.com by SUNDAY 22RD MARCH 2015.

You can find out more information on https://fanstudies.wordpress.com/ or talk about the event on Twitter using #FSN2015.

Conference Organisers:
Lucy Bennett and Tom Phillips (FSN chairs)
Bertha Chin, Bethan Jones, Richard McCulloch, Rebecca Williams (FSN board)

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)

Punk Scholars Network 2nd Annual Conference and Postgraduate Symposium 2015

March 26, 2015 by

In Association with Birmingham City University, The Birmingham Centre for Media and Cultural Research and the London College of Communication.

CALL FOR PAPERS: Punk NOW!!

Following the dynamic emergence of punk in the UK, USA and Europe in the 1970s, the subculture spread widely. As punk and new wave gained commercial and critical success, together with an attractive notoriety, it soon began an ongoing journey around the globe – both as a product and as an ideology. Punk, then, despite its omnipresence in contemporary underground and popular cultures, is clearly more than legacy music. More than forty years after the proto-punk progenitors of Detroit and New York unconsciously launched an underground revolution, to continue what some of the 60’s and 70’s anarchic counter culture propagated, and after untold premature obituaries, it appears that punk – in terms of music, philosophy, and identity – remains in rude health.

Punk scenes continue to thrive as far afield as Russia, South America, India, Pakistan, China, Japan, Eastern Europe, Africa, the Middle East and Indonesia – 2011 saw the first official record release from a Saudi Arabian punk band, Sound of Ruby, while other scenes have established their mark in Madagascar, Algeria, Uzbekistan, Kyrgyzstan, even Tibet and the Himalayas. Meanwhile, nearer to home, an underground punk scene never actually went away and continues to ‘mutate and survive’– ranging from the continued support for longstanding bands and scenes, to the network of emerging small-scale gigs, fanzines, music distribution, (sub)cultural and political activities of a truly cross-generational subculture.

This joint conference and postgraduate symposium seeks to illuminate the current landscape of contemporary punk in all of its global, musical, political and (sub) cultural manifestations. Suggested topics include (but are not limited to)

·        International/national contemporary punk scenes and networks

·        Contemporary punk and politics

·        Contemporary punk and gender

·        Subcultural scenes, tribes and neo-tribes informed/influenced by punk

·        Contemporary punk identity

·        The Design and Aesthetics of Contemporary Punk

·        Contemporary punk fanzines and digital publishing

·        Ageing in a contemporary punk scene

·        The old and the new; inter/intra generational scenes, retro scenes, controversy and tensions.

·        Fan practices in contemporary punk;

·        Contemporary punk as resistance

·        Contemporary punk music: Musicology, performance, new genres and hybridization

·        Punk commodities and consumerism: From the role of the boutique to the online punk distro

·        Contemporary punk and digital media; digital production, distribution and consumption. DiY media, YouTube, social media.

·        Punk for Sale: New genres and hybrid musical developments in punk musical aesthetics

The programme will consist of keynote speakers (tbc) and a number of thematically grouped panels for both academics and postgraduates.  By creating a dual purpose to the conference the Punk Scholars Network aims to bring together established academics and the next generation of punk scholars in a supportive and colloquial environment, which we hope will encourage networking opportunities, ideas exchange and potential future research collaborations.

Post graduates and graduates can present work-in-progress papers on their PhD thesis, Master’s dissertation or graduate dissertation.

Alongside this the organisers plan to have an art exhibition exploring the visual identity of contemporary punk and live music from Birmingham’s resilient punk scene.

Each paper should last no more than 20 minutes and proposals should be submitted in the form of an abstract of c.250 words. All proposal submissions should also include:

§  Full title of the paper

§  Full name, contact details, 150 word biography and institutional affiliation

§  Your academic status-post graduate/graduate or ‘established’ academic (this is for the purpose of panel allocation)

§  Any requirements (projector, CD/DVD player, OHP, etc)

Deadline for receipt of proposals/abstracts is 31st June 2015.

Proposals should be sent in the form of an abstract as an  e-mail attachment tomatt.grimes@bcu.ac.uk.

The conference programme will be announced in September 2015.

The conference and symposium is scheduled to take place at Birmingham City University either 29th/30th of October 2015 or 5th/6th November 2015 (TBC).

It is intended that a book of conference proceedings will published.

Call for Submissions to a Special Issue of the Journal of Popular Film and Television on Holmes Onscreen (Tentative Title)

March 22, 2015 by

Call for Submissions to a Special Issue of the Journal of Popular Film and Television on Holmes Onscreen (Tentative Title)

Edited by Tom Ue, Department of English, University College London

Heralded by The Telegraph as a ‘global phenomenon,’ BBC’s Sherlock is now one of the most commercially and critically successful television series of all time. The global recognition of Sherlock, combined with the recent discovery of Arthur Berthelet’s 1916 silent film Sherlock Holmes starring William Gillette in his only screen appearance as the famous sleuth, makes it especially timely for film scholars, students, and audiences to reassess the cultural legacy of Holmes onscreen. Forthcoming work by Hills (2016) and Poore (2016) argue strongly for Holmes as a continuing source of scholarly interest, spurring us to look at Holmes’ filmic lives.

This special issue of the Journal of Popular Film and Television will bring together original scholarship on Holmes adaptations. This collection will draw upon, and build on, recent work on Holmes’ reception by Porter (2012), Vanacker and Wynne (2012), and Stein and Busse (2012), and on Holmes’ early readers and viewers by Clarke (2014) and Werner (2014) by historicizing and by exploring manifestations of Holmes in films and on television. Holmes Onscreen (tentative title) will analyze the reasons behind Holmes’ continuing fascination for viewers and examine their treatments of a wide range of social issues including race, gender, terrorism, and international relations. This special issue will expand upon the conversations that began in New Directions in Sherlock, a one-day symposium organized by Tom Ue and held at University College London. We encourage new historical, theoretical, analytical, and critical perspectives on Holmesian adaptations, both the canonical and the neglected, with a view of furthering scholarship both about the character and about his persistence in filmic imagination.

Sample topics:

Holmes and women
Holmes and men
Holmes and the world
Holmes and the form of detective writing
Holmes and fear
Holmes and doubt
Sherlock and Holmes
Holmes in black and white
Holmes and comedy
Holmes and the neo-Victorians
William Gillette and Holmes
Holmes and Raffles
Holmes in theatre and film
Holmes and the family film
Holmes’ reception

Please note that papers that involve only literature/film and/or literature/television comparisons will not be considered. Please direct your queries and your 200-word working abstract, along with a one-paragraph biography, to Tom Ue at ue_tom@hotmail.com by 15 July, and feedback will be returned by 20 July. Completed papers of no more than 25 double-spaced and MLA-styled pages are due 15 November, whence they will be sent out for peer review.

Participations: Journal of Audience & Reception Studies

March 19, 2015 by

Special themed issue – Inside-the-scenes: The rise of experiential cinema

Guest Editors: Sarah Atkinson and Helen W. Kennedy, University of Brighton

In recent years, there has been a growing trend toward the creation of a cinema that escapes beyond the boundaries of the auditorium whereby film-screenings are augmented by synchronous live performance, site-specific locations, technological intervention[1], social media engagement, and all manner of simultaneous interactive moments including singing[2], dancing, eating, drinking[3] and smelling[4].  Whilst recognizing that these experiences are not radically new (some belong in a continuum of peripheral marketing around film screenings that have existed since early cinema) we do now see these previously marginal experiences (i.e.  The Rocky Horror Picture Show) beginning to find access to a much wider public, and a significant rise in organisations dedicated to the design and delivery of augmented cinematic main events (such as Secret Cinema[5] and Sneaky Experience). We would like to make the distinction between the focus of this CFP – which is directed toward the study of ‘event-led’ cinema – the creation of live events around a particular film screening, and its contrasting proposition – ‘event cinema’ – thecoverage of live events in cinema auditoriums (such as sport, opera and theatre – around which there is already much lively academic discussion, and an organization established to support such activities[6]). This CFP is situated with the context of a growing demand for atmospheric, immersive and participatory cinematic experiences and the recent turn towards event-led distribution models, within a burgeoning experience economy. This area presents a fertile site for analysis and one that remains relatively untapped within past and current academic literature. This special issue aims to bring together the latest audience research into these areas to interrogate and explore the experiential cinema economy and to provide deepened understandings of recent immersive cinema phenomena through the analysis of both industrial and audience perspectives; to reveal economic, social and technological imperatives which underpin these innovations; and to evolve new conceptual frameworks and language of analyses suitable for their study.

The editors are particularly interested in encouraging submissions from a range of research contexts and from a diversity of methodological approaches. We are happy to receive submissions from a variety of disciplines such as film, media, games, theatre & social media studies. We are keen to encourage submissions from work that has combined multiple methodologies leading to innovations in audience research. Contributions will be welcomed, but are not limited to, articles addressing the following questions or areas of enquiry:

·      To what extent do these experiences extend and intensify narrative affect, heighten spectatorial absorption and enable vicarious audience engagement?

·      How are non-fictional augmentations such as cast and crew satellite link-ups to Q&A staged in order to engage an audience with a greater expectations of interactivity?

·      What new business models are emerging? At recent film festival events, industry talk and focus has turned to ‘eventising’. This is high on the agenda of an industry seeking to evolve new business models which address an apparent audience demand for enhanced and/or augmented experiences.  

·      How do such experiences embrace or challenge existing fan practices including cosplay?

·      How are the relations and tensions between the experience economy and the social media economy played out within these experiences?  (i.e. participation in events engendered by the experience economy  provide audience members who are engaged in the social media economy with the fodder with which to sustain their voracious social media streams)

·      How far can these augmented cinematic events be understood with recourse to a wider understanding of a shift in focus towards the design of experiences and multiple points of access around key (and often much loved) intellectual properties?

·      Where do the boundaries of the filmic-text, traditionally the key site for analysis in film studies, begin and end within immersive and participatory cinema experiences?

While we expect that not every submission will include any specific kind of audience research, we would welcome submissions that address the implications their investigations and arguments have for audience experience.

Please submit 500-word abstracts along with 100-word author biographies to both :

Sarah Atkinson:   S.A.Atkinson@brighton.ac.ukand Helen Kennedy: h.kennedy@brighton.ac.uk

·      Deadline for abstracts: Tuesday 5thMay, 2015

·      Decisions issued to authors: w/b 1st June, 2015

·      Deadline for full papers: Tuesday 1st September, 2015

·      Journal publication: May 2016

Please see journal information including submission guidelines at: http://www.participations.org/

[1] The first 4DX cinema opened in the UK earlier this year in Milton Keynes, UK.

[2] See http://www.singalonga.net

[3] Last year, Edible Cinema delivered a screening of Paolo Sorrentino’s The Great Beauty, using ‘taste, aroma and texture to heighten the viewers’ sensory experience of the film’s most famous scenes.’

[4] Polyester, the 1981 John Waters film was recently re-screened at 35 UK cinemas, in the way that it was originally intended, accompanied by audience interaction with the Odorama ‘Scratch n’ Sniff’ cards, as part of the National Scalarama film festival.

[5] The editors have themselves carried out extensive analyses of Secret Cinema, see bothAtkinson, S. and Kennedy, H. (2015):

–        Tell no one: Cinema as game-space – Audience participation, performance and play, G|A|M|E: The Italian Journal of Game Studies, 5/2015

–        Not so secret cinema: when independent immersive cinematic events go mainstream, SCMS conference, Montreal, March 2015

[6] The Event Cinema Association seeks to support and promote event cinema – see http://www.eventcinemaassociation.org/

MeCCSA 2016 Conference – Call for Papers

March 19, 2015 by

6-8 January 2016

Canterbury Christ Church University

Theme: Communities

Deadline for proposals: 8 September 2015

We are pleased to invite you to submit abstracts, panel proposals and 
posters for the next Annual MeCCSA Conference, to be held 6-8 January 
2016 at the School of Media, Art and Design, Canterbury Christ Church 
University, Canterbury, UK.

The theme of the MeCCSA 2016 is ‘Communities’. We invite papers and 
panel proposals that address this theme, examining how we might advance thinking on for example: communities in the digital age; communities and the commons; communities and cultures; communities on the margins; local and community media; politics and policies of communities; community engagement and cohesion; inclusion and exclusion in communities; communities and the past; media, cultural and communication practices of different types of communities.

We also welcome scholarly papers, panels, practice contributions, film 
screenings, and posters across the full range of interests represented by MeCCSA and its networks, including, but not limited to:

·         Film and television studies and practice

·         Radio studies and practice

·         Cultural and media policy

·         Representation, identity, ideology

·         Social movements

·         Women’s Media Studies

·         Disability Studies within media studies

·         Approaches to media pedagogy

·         Children, young people and media

·         Diasporic and ethnic minority media

·         Political communication

·         Methodological approaches

·         MeCCSA subject areas as disciplines

Confirmed plenary speakers

Confirmed speakers that will participate in keynote panels include:

·         Professor Mark Deuze, University of Amsterdam

·         Professor Jeremy Gilbert, University of East London

·         Dr Peter Lewis, London Metropolitan University

·         Professor Robin Mansell, London School of Economics

·         Sara Moseley, Distinguished Visiting Fellow and Development 
Director, Cardiff University

·         Jeremy Seabrook, Author and Journalist

·         Professor Helena Sousa, University of Minho

·         Hilary Wainwright, Journalist and Researcher, Transnational 
Institute

·         Professor Claire Wallace, University of Aberdeen

Submission guidelines

Abstracts of up to 250 words should be submitted by 8 September 2015 through the conference website (http://www.meccsa2016.co.uk/). We also welcome panel proposals and these should include a short description and rationale (200 words) together with abstracts for each of the papers (150-200 words each including details of the contributor), together with the name and contact details of the panel proposer. The panel proposer should co-ordinate the submissions for that panel as a single proposal.

Practice

We actively support the presentation of practice-as-research, in particular when there is insufficient time to present a complete work during parallel sessions. We are therefore providing a dedicated 
presentation space to display practice artefacts including screenings, 
computer-based and multi-screen work (where possible). For displaying  practice work, please include specific technical data (eg duration, format) and an URL pointing to any support material when submitting your abstract.

Conference contacts:

Website: http://www.meccsa2016.co.uk/

Email address: meccsa2016@canterbury.ac.uk

Twitter: @meccsa2016

We look forward to seeing you in Canterbury!

About MeCCSA

MeCCSA is the subject association for the field of media, communication and cultural studies in UK Higher Education. The field encompasses the study of audiovisual and print media including film and TV; journalism; radio; photography; creative writing; publishing; interactive media and the web. The field also includes higher education for media practice and 
practice research – film and TV production, journalism practice, and the use of new, digital information technologies in the arts, entertainment, 
social media and gaming. For further information please see: 
http://www.meccsa.org.uk/

About Canterbury

Canterbury is an important historical city in the south east of England, one hour by train from London. The conference will be held on the main 
campus of Canterbury Christ Church University, which is part of the 
Canterbury UNESCO World Heritage Site. The University has offered degrees in media and related subjects since 1980.  The School of Media, Art and Design currently provides undergraduate and postgraduate programmes in media and communication, journalism, film, television, radio, animation, photography, digital media, web design, graphic design and fine and applied art. The School has a strong ethos of theory-practice interchange and an interdisciplinary research culture. The School runs the Centre for Research on Communities and Cultures and is a leading player in the Centre for Practice-Based Research in the Arts.

CFP: Turning the Page: Digitalization, movie magazines and historical audience studies

March 19, 2015 by

A Conference organized by NoRMMA, CIMS and DICIS
Ghent University (Ghent, Belgium), 12 and 13 November 2015

Keynotes: Geneviève Sellier, University of Bordeaux; Eric Hoyt, University of Wisconsin-Madison

NoRMMA, the University of Kent’s Network of Research: Movies, Magazines and Audiences, and CIMS, the Ghent University’s Centre for Cinema and Media Studies, will be holding a conference on the impact of 
digitalization for the study of movie magazines and historical audiences. The conference is supported by the Digital Cinema Studies network DICIS. Proposals for papers are now invited.

The recent advances in research made by proponents of New Cinema History 
underline the importance of extending the field of scholarly focus beyond the film text to the wider movie-going experience. While material objects such as company records, theatre ledgers and fan letters have now gained a respectable place in this research, the movie magazine, whether fan or trade, still seems to be neglected or regarded with suspicion. This is perhaps due to the fan magazines’ reputation for purveying scandal and gossip, their frequent mingling of gushing tone and blatant falsehood. Since the trade papers were aimed at industry insiders, theatre owners and exhibitors, studio employees and agents, periodicals such as Variety, The Hollywood Reporter and Motion Picture Herald have also been overlooked as somehow biased towards business interests. However, by treating movie magazines as the objects of primary rather than secondary research, important findings can be generated.

As Anthony Slide has noted, in their heyday from 1920s to 1950s, there 
were around 20 major movie magazines on offer every month at American newsstands (2010: 3), with more offered in Europe and across Latin America; trade publications, though sold to and for different markets, were also produced in steady numbers within each country involved in film production and distribution. This resulting material gives investigators a huge potential resource for study, especially now that the digitalization of periodical collections is becoming more common. With the Media History Digital Library making multi-issues of both fans and trades available for download, one of the major problems with working on these publications – access – is partially solved, for researchers now and in the future when even fewer of these ephemeral 
artefacts may remain physically available.

Robert Scholes and Sean Latham, modernist magazine scholars, announced the birth of a new academic area of interest in 2006, periodical 
studies, and noted further that “The rapid expansion of new media technologies over the last two decades…has begun to transform the way we view, handle, and gain access to these objects. This immediacy, in turn, reveals these objects to us anew, so that we have begun to see them not 
as resources to be disaggregated into their individual components but as 
texts requiring new methodologies and new types of collaborative investigation.” (PMLA 121.2) The networks hosting this conference believe that the study of movie magazines can be just as revealing to film and cultural historians as the highbrow Modernist and Little 
Magazines, and that the fans and trades equally demand “new methodologies and new types of collaborative investigation.”

This conference therefore aims to bring together researchers whose work 
examines movie magazines intended for any audience and from any period 
or locale. We hope to attract colleagues from a wide range of disciplines who wish to pose questions about how to read these artifacts, how to interpret them, and how to assess the impact of 
digitalization on periodical research. We are seeking abstracts for individual papers and panels of three or four contributors on topics including, but not limited to:

* the advantages and potential disadvantages of digitalisation

* comparative studies of a topic in the trades and fan magazines

* imagining/recovering the audience of the fan magazines

* reading movie magazines as extensions of the cinema-going experience

* idiosyncrasies of national models of movie magazine – alternatives to the Hollywood template

* methodologies for working with the fans and trades

* issues of censorship and industry regulation

* cross-overs in methods and objects of research between the areas of magazine, and periodical, studies

* we are particularly keen to see proposals that cross the borders 
between academia and industry, and/or archives and libraries

Please send abstracts of 300 words and a 100-word biography to 
normma.network@gmail.com by 15 May 2015, and address any queries to the same email. After the conference, you may be invited to submit a revised 
version of your paper for consideration in a special issue or edited volume to be organized by the planners.

Conference committee: Tamar Jeffers McDonald & Lies Lanckman, University 
of Kent (UK) * www.normmanetwork.com /// Daniël Biltereyst & Lies Van de 
Vijver, Ghent University (Belgium) *www.cims.ugent.be * 
http://www.digitalcinemastudies.com

Fanfiction and Student Learning, MediaCommons Front Page Collection

March 18, 2015 by

Fanfiction and Student Learning

MediaCommons Front Page
mediacommons.odu@gmail.com

The MediaCommons Front Page Collective welcomes responses to the survey question: How can fanfiction studies enrich student learning in the classroom and within their own reading and writing practices?

This survey question seeks to explore the pedagogical and research values within intersections of fanfiction studies. Some questions that may arise: How might fanfiction be used as a teaching tool and to what end? In what ways can fanfiction and online fanfiction communities assist second language learners? How can fanfiction studies be used to deepen students’ understandings of media and their effects on audience members? How do other forms of fanfiction (such as fanvideos and fanart) change and/or challenge our perspectives on fanfiction studies?

Responses may include, but are not limited to:
-Pedagogical value for writing students and reluctant readers
-Fanfiction and transmedia adaptation
-Pedagogical value for K-12 classrooms
-Issues of copyright, intellectual property, and plagiarism
-Fanfiction and second language learning
-Fanfiction as a site for exploring identity (gender, nationality, sexuality, ethnicity)
-Stereotypes regarding who writes fanfiction (Is it a female-dominated community? Perceptions of male writers who write from female perspectives?)

The project will run from April 6th to April 24th. Responses are 400-600 words and typically focus on introducing concepts for larger discussion, with the idea that interested individuals will read and respond daily to engage authors in digital conversation. Proposals may be brief (a few sentences) and should state your topic and approach. You may submit as an individual or offer up a special cluster of responses with others. Submit proposals to mediacommons.odu@gmail.com by April 1st to be considered for inclusion in this project.

MediaCommons is an experimental project created in 2006 by Drs. Kathleen Fitzpatrick and Avi Santo, seeking to envision how a born-digital scholarly press might re-conceptualize both the processes and end-products of scholarship. MediaCommons was initially developed in collaboration with the Institute for the Future of the Book through a grant from the MacArthur Foundation and is currently supported by New York University’s Digital Library Technology Services through funding from the Andrew W. Mellon Foundation and the National Endowment for the Humanities. The site regularly receives tens of thousands of unique readers a month.

Please visit MediaCommons at: http://mediacommons.futureofthebook.org/

CFP: 2015 Midwest Popular Culture Association Conference, October 1-4, 2015, Cincinnati

March 18, 2015 by

FAN STUDIES

2015 Midwest Popular Culture Association Conference

October 1-4, 2015

Hilton Cincinnati Netherland Plaza

Cincinnati, OH

Deadline: April 30, 2015

Submissions.mpcaaca.org

Topics can include, but are not limited to, fan fiction, multi-media fan production, fan communities, fandom of individual media texts, sports fandom, or the future of fandom. Case studies are also welcome.

2015 Special Panels dealing with fan harassment, fan shaming, and diversity in fandom.

Please upload 250 word abstract proposals on any aspect of fandom to the Fan Studies area section of the MPCA submission site: http://submissions.mpcaaca.org

Any questions? Please email Katie Wilson at KateMarieWilson@gmail.com

More information about the conference can be found at http://www.mpcaaca.org/

Please note the availability of graduate student travel grants: http://mpcaaca.org/conference/travel-grants/

Transformative Works and Cultures – new special issue on Performance and Performativity in Fandom

March 15, 2015 by

The new issue of Transformative Works and Cultures, Vol 18, is now out!

Vol 18 (2015)

Performance and performativity in fandom, guest edited by Lucy Bennett (Cardiff University) and Paul J. Booth (DePaul University)

http://journal.transformativeworks.org/index.php/twc/issue/view/19

Table of Contents

Editorial
Performance and performativity in fandom
Lucy Bennett, Paul J. Booth

Theory
Self-representation in literary fandom: Women’s leisure reader selfies as postfeminist performance
Dawn S. Opel

Fannish tattooing and sacred identity
Bethan Jones

Bound princes and monogamy warnings: Harry Potter, slash, and queer performance in LiveJournal communities
Darlene Rose Hampton

Toward new horizons: Cosplay (re)imagined through the superhero genre, authenticity, and transformation
Ellen Kirkpatrick

Praxis
The digital fandom of Na’vi speakers
Christine Schreyer

Doctor Who–themed weddings and the performance of fandom
Jessica Elizabeth Johnston

Audience reaction movie trailers and the Paranormal Activity franchise
Alexander Swanson

Simblr famous and SimSecret infamous: Performance, community norms, and shaming among fans of The Sims
Ruth A. Deller

The remediation of the fan convention: Understanding the emerging genre of cosplay music videos
Nicolle Lamerichs

Symposium
Exploring nonhuman perspectives in live-action role-play
Rafael Bienia

Finding truth in playing pretend: A reflection on cosplay
Shelby Fawn Mongan

My football fandoms, performance, and place
Abby Waysdorf

Zombie walks and the public sphere
Brendan Riley

What is global theater? or, What does new media studies have to do with performance studies?
Abigail De Kosnik

Interview
Exploring fandom and the performance paradigm: An interview with Kurt Lancaster, author of Interacting with “Babylon 5″
Paul J. Booth, Lucy Bennett

Interview with Hello Earth Productions
Cameron Salisbury

Review
Fandom unbound: Otaku culture in a connected world, edited by Mizuko Ito, Daisuke Okabe, and Izumi Tsuji
Nele Noppe

Work/text: Investigating “The Man from U.N.C.L.E.,” by Cynthia W. Walker
Francesca Coppa

CFP: Convergence: Special themed issue

March 13, 2015 by

CFP: Convergence: Special themed issue
Vol 22, no 3 (August 2016)

Connected Viewing: Multi-Platform Media in the Digital Era
Guest Editors: Jennifer Holt and Karen Petruska

This special issue aims to bring together researchers from film, television, internet, and game studies to examine evolving trends in connected viewing, an evolution in how screen media is created, circulated, and consumed. Specifically referring to a multi-platform entertainment experience, connected viewing also relates to a larger trend across the media industries to integrate digital technology and socially networked
communication with traditional screen media practices. This special issue will explore connected viewing as a crucial frame through which we can understand contemporary media in the digital era.

Connected viewing is more than digital distribution, for it encapsulates the broader ecosystem in which digital distribution is rendered possible
and new forms of user engagement take shape. Connected viewing is as much about the aesthetic and social experience of second-screen media as it is about the intermediaries that deliver content to mobile devices and the gatekeepers that regulate access. It also extends to those firms and
individuals operating outside of the mainstream who are looking to create
innovative connections to the digital, global, and mobile audience.

This call for papers invites contributions that focus on the evolving economics, technologies, regulations, texts, and audience practices of
connected viewing. Possible topics may include digital distribution
technologies and platforms; global markets and audiences; the economics of connected viewing; web series and transmedia content; data collection and
privacy; cloud technologies and internet infrastructure; network neutrality, internet governance, and other regulatory issues; audience engagement and fandom.

Contributions on the following questions are welcome, but we are open to any substantive inquiry:

**What are the historical continuities that limit or expand the landscape
for digital media innovations?

**Legacy companies today compete not only with each other but also with new entrants like Netflix and Amazon. How is the struggle between these
companies transforming traditional media practices?

**What innovations has connected viewing brought to the production and
circulation of content, especially across platforms? How has this affected
creative labor?

**What are the emerging business models driving connected viewing, and how might these impact audience practices and priorities (i.e. in terms of
digital divides, affordable content, privacy protections, etc.)?

**What are the most dynamic connected viewing developments in Latin American, Asian, European, or emerging economic markets?

**Do “independent” companies have a competitive advantage in the connected viewing market for either film, TV, or games?

**What audiences have the advances of connected viewing left behind,
particularly considering racial, gender, class, and age differences? Alternatively, how have audiences pushed connected viewing practices forward in ways media companies have not?

**How is connected viewing transforming ideals of the public sphere and community life?

Research articles will be in the range of 6,000-8,000 words and all submissions should be formatted in the SAGE Harvard reference style.

We are also interested in publishing interviews of 3,000-5,000 words with
connected viewing creators, intermediaries, distributors, etc. If you are interested in conducting an interview for this issue, please email the editors with a brief description to determine suitability.

Please send submissions of full papers to the editors by 31 July 2015. All
correspondence and submissions to Karen Petruska (k.petruska@gmail.com).

You can read more about Convergence: The International Journal of Research
into New Media Technologies here: http://con.sagepub.com/.

Registration for Spirited Discussions: Exploring 30 Years of Studio Ghibli conference (Cardiff University, 18 April 2015) now open

March 9, 2015 by

Registration for the Spirited Discussions: Exploring 30 Years of Studio Ghibli conference is now live

JOMEC, Cardiff University, UK, 18 April 2015
(in collaboration with the University of East Anglia)

For 30 years, Studio Ghibli has produced some of Japan’s most popular and profitable films, and yet, beyond the work of famous film director Hayao Miyazaki, many of Studio Ghibli’s achievements remain unknown outside of Japan. This one-day conference is the first of its kind, and aims to investigate the meanings of Studio Ghibli, and its significance to Japanese and global culture.

Our speakers are international, coming from Japan, Europe and the UK, and our Keynote speaker, Professor Susan Napier, is one of the world’s leading experts on anime, whose work is widely available in Japanese as well as in English. In bringing these speakers together, we aim to offer new understandings of Studio Ghibli’s complex Japanese industrial and cultural history to those outside Japan who rarely see these sides of Japan’s most famous film studio.
Surprisingly little is known about Studio Ghibli, despite the high profile international success of its director Hayao Miyazaki. Not all of the Studio’s films have been released in the UK, nor are its regular contributors – from director Isao Takahata to producer Toshio Suzuki – well-known in the West. Our main aim is to improve academic and public knowledge about Studio Ghibli, and by doing so, to improve understanding of how Japanese animation operates and how it has come to be popular at home and abroad.

The conference offers a key moment for rethinking the debates around Studio Ghibli, marking not only 30 years since the Studio began, but also the year of its impending closure. We intend to ask what this might mean for the future of animation in Japan, and reflect on the the Studio’s incredible global success.

Our contributor’s papers will explore cultural, economic, historical and industrial concepts that seek to interrogate Studio Ghibli’s meanings in relation to broader aspects of Japanese culture and society. In this way, we hope to improve understandings of both, and to begin a deeper discussion about how anime works within Japanese culture.

https://www.eventbrite.co.uk/e/spirited-discussion-exploring-30-years-of-studio-ghibli-tickets-16033263924


Follow

Get every new post delivered to your Inbox.

Join 2,533 other followers