The Fan Studies Network Conference 2016

December 9, 2015 by


25-26th June 2016
University of East Anglia, Norwich, UK


Keynote Speaker:
Professor Henry Jenkins (University of Southern California, USA).

The fourth annual Fan Studies Network Conference is returning to the University of East Anglia for a two-day programme in June 2016. The conference will continue FSN’s proud tradition of offering an enthusiastic space for interdisciplinary researchers at all levels to connect, share resources, and further develop their research ideas. In addition to panel presentations, the two days will feature social events, speed geeking, and workshop discussions.

We are delighted to welcome Professor Henry Jenkins as the keynote speaker for FSN2016. Jenkins’ work has proved extremely influential in the field: He is the author/editor of thirteen books on various aspects of media and popular culture, including Convergence Culture: Where Old and New Media Collide; Fans, Bloggers and Gamers: Exploring Participatory Culture, and one of the key texts of the first wave of fan studies, Textual Poachers: Television Fans and Participatory Culture.

Registration is open here:

And the conference programme can be found here:

FSN 2016 draft Programme v2

Please send any enquires about the conference to:

You can join the discussion about the event on Twitter using #FSN2016, or visit

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:
You can also find us on Twitter at @FanStudies, on the discussion list at and on the Facebook group at!/groups/507241072647146/
To contact the FSN, please email Lucy Bennett ( and/or Tom Phillips (

CFP: International Vampire Film and Arts Festival, 25-27 May 2017, Transylvania, Romania

October 20, 2016 by


The second annual International Vampire Film and Arts Festival will take place in Sighisoara in Transylvania, Romania, on May 25th ‐ 28th 2017.
Theme: VAMPIRES ON SCREEN: Life, Death, and Immortality
Curating University: EMERSON
Keynote Speaker: Cynthia J. Miller (Undead in the West, Horrors of War, The Laughing Dead)

This call for papers is for scholars interested in presenting their work in the academic symposium that runs alongside the Festival (in association with Emerson College).
From the silent era to the present day, cinematic vampires have menaced, critiqued, and entertained the living. From sexuality to race, and political‐economy to personal violence,
vampires have reflected our existential struggles as well as our everyday lives, Lending themselves to not only horror, but a wide range of genre mash‐ups and hybrids as well,
they can be found in cities and suburbs, battlefields and college campuses, the Wild West and quaint New England towns. As vampire narratives and tropes shift and evolve in
motion pictures, how do we continue to interpret their roles and functions? What do cinematic vampires—as familiar foils, monstrous Others, and cultural commentators—
bring to our theaters and homes when we invite them in? This session invites papers exploring the many forms and visions of the vampire on screen, from Nosferatu through the present day. Papers will be selected to broadly represent eras, fields of critical inquiry, and the cinematic and cultural evolution of vampire.
Proposals for single 20‐minute papers or pre‐constituted panels (of 3 x 20‐minute papers) on the conference theme are invited from scholars and advanced graduate
students. Possible topics include (but are not limited to) the following:

+ Landmarks of Vampire Film and Television (Dracula, Dark Shadows, Interview with
a Vampire, Near Dark, John Carpenter’s Vampires, True Blood)
+ Urban Vampires (Dracula A.D. 1972, Vampire in Brooklyn, Love at First Bite)
+ Genre Parody (Vampire’s Kiss, What We Do In the Shadows, Vampires Suck, Dracula:
Dead and Loving It)
+ Vampires as Social and Political Commentary (Fearless Vampire Killers, Blacula,
Vampires: Los Muertos)
+ The Vampire’s Role in Genre Evolution
+ Franchising the Vampire (Twilight, Underworld, Blade)
+ Children of Dracula: Spin‐offs, Adaptations, and Novelizations
+ Turned: Fan Editing and Vampire Cinema
+ Vampire Foodways
+ Non‐Western Cinematic Vampires (Thirst, Let the Right One In, Daughters of
Darkness, Mr. Vampire)
+ Vampires in Genre Mash‐ups (Curse of the Undead, Billy the Kid vs. Dracula, From
Dusk Till Dawn, Abraham Lincoln, Vampire Hunter)
+ Still Cutting Their Teeth: Vampires for Children and Young Adults (The Little
Vampire, Buffy the Vampire Slayer, The Vampire’s Assistant)
+ Sex, Gender, and the Children of the Night (Near Dark, Only Lovers Left Alive,
Vampyros Lesbos)

This conference theme is curated by Professor Cynthia J. Miller and Professor Meta Wagner, and is sponsored by the Institute for Liberal Arts and Interdisciplinary Studies at Emerson
College ( Submit abstracts (500 words maximum) via email to, no later than February 1, 2016. Full panel proposals should include all three proposals
along with a summary (50 words maximum) of the panel’s central topic by the moderator. Accepted submitters must confirm commitment to attend and present their
own original work at the conference in Transylvania. For information on conference registration and location, visit

Updated CFP: Popular Culture, Tourism and Belonging, 5-7 April 2017, Erasmus University, Rotterdam

October 20, 2016 by

APRIL 5-7 2017

Keynote Speakers:
David Morley
André Jansson
Marie-Laure Ryan

When the small Dutch seaside village of Urk was announced as a filming location for superstar director Christopher Nolan’s historical drama Dunkirk, featuring One Direction star Harry Styles and other big names, it was unsurprising that reports of fans traveling in hopes of catching a glimpse of the production followed. Indeed, it would have been more surprising if they hadn’t. Visiting places connected to media is increasingly mainstream – from searching for film locations of popular TV shows to taking part in literary walking tours to traveling around summer music festivals. Popular culture sets the touristic identity of regions, while fan conventions and festivals draw increasing numbers (and prices) year after year. These developments, and others like them, point to a growing interest in bridging the gap between reality and imagination through physicality, intertwining them in new ways. They also illustrate new ways in which place, and its role in creating a sense of identity and belonging, matters in a globalized and digital world in which popular culture plays an integral role.

This conference brings together these disparate threads and explores the ways in which popular culture and tourism interact in the contemporary media age. This is reflected in the keynote speakers: Professor David Morley of Goldsmiths University, author of many influential works of media theory, including The Nationwide Audience (1980) and Media, Modernity, and Technology: the Geography of the New (2007); Professor André Jansson of Karlstad University, editor of Geographies of Communication: The Spatial Turn in Media Studies (2006, with Jesper Falkheimer) and author of Cosmopolitanism and the Media: Cartographies of Change (2015, with Miyase Christensen); and Dr. Marie-Laure Ryan, author of Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media (2000) and Narrating Space/Spatializing Narrative: Where Narrative Theory and Geography Meet (2016, with Kenneth Foote and Maoz Azaryahu).

The conference will also feature a special session on Fandom and Place, bringing together experts in the field to address the contemporary issues at this complex juncture. Our invited guests are Professor Cornel Sandvoss of the University of Huddersfield, author of Fans: The Mirror of Consumption (2005); Professor Matt Hills of the University of Huddersfield, author of Fan Cultures (2002); and Dr. Mark Duffett of the University of Chester, author of Popular Music Fandom: Identities, Roles, and Practices (2013).

We seek to bring together scholars across disciplines, including, but not limited to, media studies, literary studies, popular music studies, ethnomusicology, cultural geography, fan studies, and tourism studies and management, who work at the intersections of (popular) culture, place, and tourism. We invite papers that address all themes around this subject, such as:

• fan pilgrimages
• place identity and popular culture
• contemporary literary tourism
• music tourism
• historical media tourism
• themed and simulated spaces
• music festivals
• video-game-inspired tourism
• media and fan conventions
• transmedia marketing and tourism
• place and storytelling
• media tourism in the media

The conference will be held at Erasmus University Rotterdam, in Rotterdam, the Netherlands. Recently chosen as one of the “best places to visit” by Lonely Planet and the New York Times, Rotterdam is a vibrant and cosmopolitan city featuring cutting-edge architecture, an innovative dining scene, and top-class art museums. The conference is organized by the ‘Locating Imagination’ research group of prof. dr. Stijn Reijnders, Leonieke Bolderman, Nicky van Es, and Abby Waysdorf, and sponsored by the Netherlands Organisation for Scientific Research (NWO) and the Erasmus Research Centre for Media, Communication and Culture (ERMeCC).

Please send abstracts of max. 300 words and a short biographical statement (max. 50 words) to before November 1st, 2016.

Kind Regards,

The organizers of Locating Imagination 2017:
Stijn Reijnders, Abby Waysdorf, Nicky van Es and Leonieke Bolderman

CFP: Queering the Whedonverses—a Slayage special issue

October 7, 2016 by

Queering the Whedonverses—a Slayage special issue

Over the last 15 years, Slayage: The Journal of Whedon Studies and other publications have featured a range of writing and scholarship about queer issues, identity and representations related to the Whedonverses but there has not yet been a publication dedicated solely to queer Whedon studies. A renewed interest in feminism and queer identities in mainstream culture and academia, alongside greater public recognition for LGBTQ issues and more attention being paid to popular culture across media: all suggest that the time is right for a concentrated examination of the Whedonverses from the perspective of queer theory and queer identities as they overlap but also differ, in all their complexity as they exist within an intersectional world. The editors of this Slayage special issue thus invite proposals for papers on any aspect of queerness and the Whedonverses, in specific national or international contexts.

Contributions may focus on, but are not restricted to:
• Queer sex and sexualities
• Queer bodies
• Queering as a discourse or position of subversion or “troubling” normativity
• Queer studies, the Whedonverses, and the academy
• Teaching queer studies via Whedonverse texts
• Subject-specific approaches to queering the Whedonverses
• Intersectional approaches to queerness within the Whedonverses
• Production and creation
• Acting and performance
• Audiences, reception, consumption
• Fan activity and production
• Formats, platforms and media—are some more open to being queered than others?
• Aesthetics (including sound and music)
• Comparative studies of Whedonverse productions, or the Whedonverses and, e.g., the Marvel Universe
• Genres and genre-queering: comedy, musical, melodrama, horror, Gothic, action, science fiction, superheroes
• Tropes, stereotypes and the same old stories
• Cult and mainstream, high and low culture, taste and ‘quality’

Send a 200-300 word proposal and a short bio by 16 December 2016 to Lorna Jowett ( and Hélène Frohard-Dourlent (, who will notify you early in January 2017 if your proposal is accepted. If your proposal is accepted please note that a first draft will be due in April 2017.

CFP: Screening Scarlett Johansson: Gender, Genre and Celebrity

October 3, 2016 by



Screening Scarlett Johansson: Gender, Genre and Celebrity


We invite chapter proposals for an edited collection on the intersection of celebrity, gender and genre, focused on the persona and work
of Scarlett Johansson.

In recent years, Johansson has achieved new standing as the darling of science fiction cinema. However, what makes her a worthy figure of
critical investigation is the multiplicity of genres and personae that she has been associated with. In her twenty-year career, Johansson has inhabited the personae of child actor (Manny & Lo (1996),
The Horse Whisperer (1998)), indie ingénue (Ghost World (2001),
The Man Who Wasn’t There
(2001), Girl With a Pearl Earring (2003),
Lost in Translation
(2003)), director’s muse (Match Point (2005), Scoop
(2006), Vicky, Cristina, Barcelona (2008)), action heroine (The Island
(2006), Iron Man 2 (2009), The Avengers (2012)) and, most recently, science fiction performer (Her
(2013), Lucy (2014), Under the Skin (2013), Ghost in the Shell (2017)).

This collection seeks to provide the first book-length account of Johansson’s persona and work. It will position Johansson as a discursive
conduit for discussing celebrity as it intersects with questions of gender and genre, a research trajectory that is enabled by Johansson’s varied career. The collection casts a critical eye over the characters she has portrayed and personas that she has inhabited,
and how the two intersect and influence one another. The collection not only brings together a critical analysis of Johansson’s work. It draws out the multitude of meanings generated through and inherent to her performances.

We welcome a range of approaches to gender, genre and celebrity, focalised through Johansson’s persona. Possible topics include, but are
not restricted to:

  • Johansson,
    gender and science-fiction cinema
  • Indie
    cinema stardom
  • “Crossover”
  • Child performers and performance
  • Johansson
    as auteurs’ “muse”
  • Gender
    and Johansson as voice performer
  • Johansson’s
    action cinema stardom
  • Female
    celebrity and science-fiction cinema

Submission requirements:

Please send a 350 word abstract (excluding bibliography) with a title, 100-word bio, and contact information
by December 2nd, 2016.



Submission of abstract:
December 2nd, 2016

Notification of decisions: by
January 6th, 2017

Chapters due:
April 7th, 2017


Contact info:

Please send abstracts or enquiries to the editors via email at


Dr Janice Loreck (Monash University)

Dr Whitney Monaghan (Monash University)

Dr Kirsten Stevens (Monash University)

CFP: Textual Reception – Exploring Audiences’ Writing Practices from a Gender Perspective (special issue of Genre en séries / Gender in Series)

September 29, 2016 by

CFP: Textual Reception – Exploring Audiences’ Writing Practices from a Gender Perspective (special issue of Genre en séries / Gender in Series)

Whether through fan mail sent to celebrities and the popular press, critical pieces, derivative narratives such as fan fictions and other outlets, media audiences have often chosen writing as a privileged way to extend their experiences of reception. In very different contexts indeed, individuals have written about the cultural objects they loved or execrated, using various media to express themselves. If preserved and accessible, all these texts can reveal a lot about their authors, but also about the composition and structure of the audiences they belong or have belonged to. Above all, they are spaces in which the making of gendered identities and relationships within these audiences can be observed, providing scholars valuable resources to study media reception from a gender perspective.

This special issue of Gender in Series aims to gather works dedicated to the analysis of audience’s writing practices through the lens of gender, broadly speaking, to illuminate both the media cultures and the social discourses produced by these specific audiences. Previous works have already showed how “ordinary”, “domestic” or “fan” writings may be highly gendered and researchers are therefore invited to provide new case studies. Contributions that focus on the writers’ profiles, their writing and, if applicable, publishing conditions, are particularly encouraged, as well as those interested in the social meanings and uses of audience’s texts from individual or collective perspectives. In the line of works that have explored the relation between reading and gender or the construction of identities through mass media, it seems essential to understand how these writings can be means of self-presentation or how they convey ideological representations and determinations about gender. It is all the more important since they are inspired by cultural contents which are themselves embedded within social and gendered norms. Besides, as writing forms continue to have a central role – offline and online – in reception practices, this special issue also welcomes comparative works establishing bridges between different kinds of writing materials or between heterogeneous eras or contexts: identifying the proximities or ruptures within forms of textual reception will be helpful to discuss how media cultures and gender issues interact and how these interactions may change in time.

Contributors should feel free to focus on any type of written textual reception, whatever its content (correspondence, commentary, fiction, etc.) or media (paper, digital, etc.), and whether the texts were supposed to be publicly released or to remain in the private sphere. This special issue wishes to address textual reception in its diversity: articles may deal with objects of affection (or disgust) from literary, musical and audiovisual fields or deal with celebrities related to arts, sports or even politics. Proposals from any of the different social sciences (sociology, history, film and television studies, cultural and media studies, etc.) will be considered, provided the analysis is based on empirical material, derived from archives, ethnographic research and/or digital research. Articles may deal with the most involved amateurs, such as “fans”, but may also focus on more “ordinary” cultural consumers, as long as they have taken a pen or a keyboard to express themselves. Finally, even if studies about writings produced between the end of the nineteenth to the twenty-first century are preferred, more comparative works or approaches relying on older writings will, when appropriate, be taken into account.

Full CFP (with additional research directions, references, and practical information):

(suggested references:

– Sébastien François:
– Thomas Pillard:

Important dates:
– Deadline for submissions: November 30, 2016
– Notification of acceptance or rejection: December 15, 2016
– Reception of full papers: March 1, 2017
– Reviews sent to authors: May 2017
– Reception of final articles: September 1, 2017
– Online publication: Fall 2017

Call for Fandom and Disability panel participants: 2017 PCA/ACA national conference in San Diego

September 22, 2016 by

From Devin Magee:
This is a call for participants in a Fan Studies panel at PCA 2017. I’d like to put together a diverse group of fan scholars who are active in various fandoms, and particularly those who create or consume transformative works.
In the Fan Studies panel at PCA 2016, participants discussed myriad reasons for reading and writing fanfiction, as well as problems within fanfiction and fandom as a whole. Examples were given of authors not properly researching race, stereotypes about gay men, exclusion of female characters in order to give priority to men– all problems stemming because they stymie the efforts of those who turn to transformative works to do what so much canon does not: reflect the diversity of experience of those creating it, reading it, or engaging with it in other ways.
That diversity of experience includes disability (both mental and physical), and as is the case in many spaces where multiple axes of oppression intersect, fandom tends to ignore or misrepresent disabled characters. In this panel, I’d like to address why that is and how it can be remedied. Specifically, I’d like to ask the questions, “where does disability fit into fan space?”, “how can able-bodied writers address disability in their works?”, “how do transformative works address canonical disability?”, and “do disabled fans interact with fandom differently than able-bodied fans? If so, how?”. I’d like to focus on physical disability, though perspectives on mental disability are also valuable and will be included.
I am looking for 3-5 other scholars to join this panel. Anybody interested should send an abstract of no more than 250 words to Devin Magee ( by September 30, 2016.

Call for Papers: Tema: Researching Internet Content

September 15, 2016 by

Tema: Researching Internet Content

The Internet has recently celebrated it’s 25th anniversary and as Gartner’s hype cycle on emerging technology shows the Internet has already give rise to new, emerging as well as established technologies, platforms, ways of interacting and creating content.

In the humanities we traditionally study cultural content in it’s many different shapes and forms from letters and literature, to paintings and pottery. However, 25 years with the Internet has thoroughly affected the amount, shape, creation of and way we interact with the cultural content found on the Internet. This in turn has influenced the theories as well as the methods with which we can study cultural content. The field of Digital Humanities has built itself around the idea of using digital methods to study more traditional material such as handwritten or analogue documents. However, in recent years there has been a growing focus on the study of born-digital material, using both newly developed digital methods as well as more traditional methods.

This issue will include research papers that deal with methods, possibilities, challenges and in particular ethical considerations in relation to humanities research into Internet content.

This includes, but is not limited to the study of:
fanwork and it’s creators
DIY culture and how-tos
amateur forums
social networks blogs and bloggers

Researchers from any discipline and at any level are invited to submit a 200-word abstracts on this topic by 15 October 2016 to the issue editors, Henriette Roued- Cunliffe ( and Thessa Jensen (

The editorial team will review all abstracts, and authors of selected abstracts will be invited to submit full papers by 1 February 2017.

Important dates:

15 October 2016: deadline for abstracts

1 February 2017: deadline for full paper

CFP: Queers and Queerness in Science Fiction, Writing from Below journal

September 15, 2016 by

CFP: Queers and Queerness in Science Fiction

Writing from Below seeks submissions for a special themed issue on the poetics and politics of queers and queerness in science fiction. We seek critical and creative works, from any disciplinary perspective, in any format or medium, on the intersection of science fiction with the study of genders and sexualities. We seek to make visible the invisible queer pasts, presents, and futures of science fiction, to critically and creatively cultivate science fictional possibilities pressed into service for the coming of future actual and imagined queer bodies, lives, relationships, communities… and we are especially interested in the sociological perspective—the impacts of science fiction, in its myriad manifestations, on genders and sexualities as experienced, expressed, performed in human societies.

Writing from Below is a peer-reviewed online open-access gender, sexuality and diversity studies journal. We provide a forum for new research on gender and sexuality and the array of intersecting practices, ideologies, and issues that shape their human experience and social expression. For this special issue, topics might include (but should not be limited to):

· The representation of queers, queerness, and same-sex sexualities in science fiction, across various mediums (song, dance, literature, film, visual arts, etc.)

· The history of queer science fiction, its legacies and our inheritances

· The critique of privileged sexual and gender practices in science fiction—discrimination, marginalisation and exclusion; power and coercion

· Queer social movements—their advancement, representation, critique—in science fiction

· Contemporary cultural, social, political, legal, ethical, biological, environmental, and technological issues in gender that science fiction draws attention to and comments on

· Queer geographies, place and space in science fiction

· New modes or models of gender, sexuality, and eroticism articulated through science fiction

· The future of queerness: what will queer be (if it persists) in future science fictions

· Hope, hopelessness, and queer science fictional futures

· Dystopian and utopian representations of futuristic queerness

· Post-humanism and/or trans-humanism, in theory and practice

· Bodies and texts in science fiction: non-human queerness, post-humanist queerness, queerness without bodies; cyborgs and augmented humans; intersexuality and alternative embodied genders

· Dildos and deathrays: sex, sexuality, and technology

· Queers Destroy/Destory Science Fiction: canons and cannons

· Science fiction and/or fan studies, genre studies, game studies, etc.

The future beckons with a queer fist, and we need you to write it. Do not be limited. Like your forebears: Be brave! Play with form, style, and genre. Invent, demolish, reimagine. We welcome submissions from any field which intersects with the study of gender, sexuality, and diversity. We publish traditional academic research as well as less conventional creative forms of research—we love to encourage scholarly experimentation.

We are open for submissions until 7 November 2016. Please visit the Writing from Below website for more information, and to submit your work:

Dr Quinn Eades
Managing Editor

Dr Stephen Abblitt
Managing Editor

Writing from Below
La Trobe University, Victoria, 3086

CFP: Liminal Celebrity and Small Nations- Special Issue of Celebrity Studies

September 14, 2016 by

​Call for Papers: Liminal Celebrity and Small Nations- Special Issue of Celebrity Studies

Guest Editors:

Professor Barry King, Auckland University of Technology, New Zealand

Dr Damion Sturm, Leeds Beckett University, UK

Research into celebrity tends to focus on larger and more powerful media systems and how the logic of mediated fame has been formed and developed in larger and more powerful nations. Considering that 60% of the world’s nations have populations of less than 10 million and 48% of nations have less than 5 million inhabitants, this issue seeks to explore the role, value and function of celebrity in such localities. 

Historically the study of celebrity has followed the paths of organizational development and the cultural templates set by the success of Hollywood and the American media. Although significant differences in the formation of global and national celebrity culture are apparent in Europe (e.g., England, France, Italy) and other large and emerging global markets (e.g., China, India) these developments beg the question of the dynamics of celebrity in smaller nations. More explicitly, within such localities the formation of celebrity systems are subject to tensions between the global and the local. Drawing on the work of Victor Turner and Homi Bhabha, there is a need to explore the condition of inbetweenness and the liminal condition of local celebrity, charged with representing nationhood – itself internally conflicted and contested – and participation in the global celebrity order based on American and Western media systems. It could be argued that the national features of global celebrity, especially Hollywood and the American media, is rendered “invisible” as the universal touchstone of fame. Conversely, for the imagined communities of the periphery, celebrities are required to contend with notions of cultural specificity and traditions of representation and identity. So whilst it is true that the tension between the global and the local is a feature of celebrity culture per se, in small nation contexts this tends to be less a phenomenon between the ordinary and the extra-ordinary than between different versions of collective identity. 

What are the specificities, nuances and complexities that underpin the development of celebrity in smaller nations? How do smaller nations respond to the the influence of global Hollywood as it interfaces with local traditions of prestige, performance and cultural identity? Do local “celebrity imaginaries” under pressure to gain the economic advantages of following global formats, essentially mirror and replicate globally powerful forms of celebrity? Alternatively, what are the differences, distinctions and cultural conflicts that emerge in the formation of such “glocal” celebrity systems? Does “liminal” celebrity germinate, operate and mobilise different logics of fame and moral economies of representation? Across a range of celebrity fields – in sport, entertainment and politics – how do localised nationalist discourses come to the fore and how do these play out in the logic of self-commodification and formation of personae? How do the factors of smaller market size and limited economies of scale enact a territorial or geographical compression on systems of value and prestige, geographic distance or isolation from the West structure the discourse of celebrity and the development and maintenance of liminal celebrity cultures? 

In order to consider the interaction of the local and global (e.g., economic, political and cultural), as well as possible paradoxes and tensions in the formation of small nation celebrity, we welcome submissions that probe celebrity in any small nations located in Europe, Asia, Middle East, Africa, Latin America, the Caribbean and Oceania.

Potential themes addressed may include but are not limited to:

The politics of celebrity in small nations

The local and global dimensions to celebrity in small nations 

The role, value and/or significance of celebrity in small nations

Celebrity identity politics via traditional (e.g., cultural, national, global, gender, race) and alternative articulations (e.g., abject, affect, agency, glocal, grobal, liquid, subversive) 

Cultural specificity and different versions of collective identity in small nation celebrity

Celebrity in specific fields of fame, such as entertainment (film, television, sport, music), politics and public life

Typologies of fame in small nations (e.g., notions of stardom, celebrity, persona, personage) 

Representational regimes and the burden of nationalistic articulations of celebrities as icons, heroes/heroines, and/or representatives of the nation (e.g., sport, media, politics)

Everyday occurrences of small nation celebrity, micro-celebrity and ‘ordinary’ celebrity 

Celebrity culture, commodification and gift economies

Celebrity and Transgender performance traditions (e.g., in South East Asia, the Pacific Rim)

Local traditions of performance in theatre, film and television, sport and politics in the formation of celebrity systems

Historical treatment and/or contemporary case studies of celebrity 

The mediatisation and/or commodification of celebrities in small nation media 

The consumption of celebrity in small nations (i.e., fandom, gossip)

The role of new media, social media and technology for celebrity in small nations

Interested authors should send a 250 word proposal and 200-word biography to both and by October 21, 2016. Acceptance notices will be sent out by December 9 2016. For accepted proposals, completed essays of 6000-8000 words will be due no later than April 7, 2017. Final publication of the special issue is expected early 2018. Only previously unpublished essays will be considered.

CFP for Edited Book Collection: War in the Whedonverses: Essays on Warfare and Military Studies in the Works of Joss Whedon

September 14, 2016 by

CFP for Edited Book Collection: War in the Whedonverses: Essays on Warfare and Military Studies in the Works of Joss Whedon

Editors: Ensley F. Guffey and Samira S. Nadkarni

Publishers: McFarland and Co.

Book Website:

Issues of war have played a prominent role in Whedon’s work across various media, from the progressively militarized later seasons of Buffy the Vampire Slayer and Angel,to the later seasons in comic book format
and its offshoot, Fray. This continues throughout the television and comic book iterations of Firefly and Serenity, inDollhouse, in Whedon’s work with Marvel Studios both behind the scenes and as writer/director of the first
two Avengers films, as well as his independent projects such as Dr. Horrible’s Sing Along Blog and even in his critically acclaimed rendition of Much Ado About Nothing. Despite the prevalence of warfare in Whedon’s work, a collection
of sustained critical examination has yet to be published and is the gap this book seeks to address.

Possible topics might include:

  • Military Leadership in Whedon’s Work
  • Past and Present Cultural Histories of Wars
  • War and Gender
  • PTSD and Combat Stress
  • Whedon and Empire
  • Narratives of the Good War and Humanitarian Intervention
  • Trauma and Destruction
  • Private Military Companies and Armed Individuals
  • Corporate Ideology and Warfare
  • Disability and War
  • Military Science and Invention

Please respond with any questions or abstracts of 300-500 words by September 30, 2016 to Proposals should
be for original essays that have not been published previously (including in conference proceedings) and that are not currently under consideration for another edited collection or journal. Final pieces must adhere to the MLA style of citations
and be approximately 8,000 words, inclusive of endnotes and bibliography. These are due April 1, 2017.