The Fan Studies Network: About Us

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

CFP: FANS OF COLOR, FANDOMS OF COLOR 

July 26, 2017 by

Special Issue TWC CFP: FANS OF COLOR, FANDOMS OF COLOR (3/1/18; 3/15/19)

In a 2015 essay in Transformative Works and Cultures, Rebecca Wanzo calls for “a new genealogy of fan studies” to begin to remedy the systemic oversight of race in fan studies. Drawing mostly from scholars who may not claim or be claimed by fan studies, Wanzo
offers a genealogy of black popular culture theorists who have engaged in “black fan criticism and acafandom.” 

We welcome authors who wish to build on this genealogy of black fandom scholarship or to create parallel and intersectional genealogies of fan scholarship. Recent discussion of race and fandom has addressed issues of media representations of characters of
color (Warner 2015), fannish responses by and to fans of color and the conversations surrounding race in fan works (Pande 2017), and racebending and “racial revision” in fan productions (Thomas and Stornaiuolo 2016, carrington 2016). This issue seeks to
expand on these lines of investigation, and to promote new ones.
The editors invite the submission of short and long scholarly essays by and about people of color who self-identify as fans (“fans of color”), and about fan communities that have formed around media characters and texts that predominantly or prominently
feature characters of color (“fandoms of color”). The editors are particularly eager to review contributions that involve methodological innovation, and/or draw on sources from historical periods other than the contemporary.

As both the scholars and objects fan studies have, to date, been predominantly white, we seek work from fan scholars of every ethnicity about their own experiences, and the experiences of people of color, in and with fandom. Here are additional topics that
authors might wish to explore for this special issue:

  • The fannish and transformative practices of audience members of color.
  • How a community of color is fannish about performers of color or about media texts that primarily feature people of color.
  • How a predominantly white community is fannish about performers of color or about media texts that primarily feature people of color.
  • Fans, “stans,” and stanning.
  • Close readings of the performances or public personae of stars or characters of color, or of specific media texts about communities of color.
  • First-person essays: what it feels like to be a fan of color, or what it feels like to be in a fandom that is mostly comprised of fans of color, or what it feels like to be a fan of an ethnic performer/text who is not the same ethnicity of that performer/text.
  • Revisiting key concepts of fan studies or race/ethnicity studies in the context of fans of color/fandoms of color.
  • Being a fan (or non-fan or anti-fan) of racially problematic/racist texts.
* Actors of color who play white characters or other cases of actors portraying an ethnicity other than their own.
  • “White savior” texts or whitewashing in film/television casting.
  • Race/ethnicity in fan casting (“racebending”).
  • Diversity (or lack thereof) in awards shows.
  • Black Girl Nerds or “blerds” in general.
  • Fans of color in/and Diaspora, or other transnational audience communities.
  • Fansubs, or other transformative/interpretive practices, and language, nationality, race/ethnicity.
  • Mixed-race and racially ambiguous characters/actors.
  • Ships of color, slash, and other fan fiction/art featuring characters of color.
  • Interracial ships, brotps, BFFs.
  • Intersections between race/ethnicity and gender, sexuality, class, nationality, and/or religion in fan communities, fan practices, or the experiences of individual fans.
  • Transformative works, reception, and fandom in the scholarly fields of East Asian, South Asian, Pacific Islander, and Asian American Studies; Indigenous/First Nations Studies; Africana/Black Studies; Latinx Studies; Middle Eastern, Islamic Studies, and
    other fields.

Works cited
carrington, andré. 2016. Speculative Blackness: The Future of Race in Science Fiction. Minneapolis: University of Minnesota Press.
Pande, Rukmini. 2017. “Squee From the Margins: Investigating the Operations of Racial/Cultural/Ethnic Identity in Media Fandom.” Ph.D. Dissertation, The University of Western Australia.
Thomas, Ebony Elizabeth and Amy Stornaiuolo. 2016. “Restorying the Self: Bending Toward Textual Justice.” Harvard Educational Review, Vol. 86, No. 3, pp. 313-338.
Wanzo, Rebecca. 2015. “African American Acafandom and Other Strangers: New Genealogies of Fan Studies.” Transformative Works and Cultures, Vol. 20.

http://journal.transformativeworks.org/index.php/twc/article/view/699/538
.
Warner, Kristen. 2015. The Cultural Politics of Colorblind TV Casting. New York: Routledge.

SUBMISSION GUIDELINES

Transformative Works and Cultures (TWC,
http://journal.transformativeworks.org/
) is an international peer-reviewed online Gold Open Access publication of the nonprofit Organization for Transformative Works copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that
welcomes fan-related topics and to promote dialogue between the academic community and the fan community. TWC accommodates academic articles of varying scope as well as other forms that embrace the technical possibilities of the Web and test the limits of
the genre of academic writing.

Theory: Conceptual essays. Peer review, 6,000–8,000 words.

Praxis: Case study essays. Peer review, 5,000–7,000 words.

Symposium: Short commentary. Editorial review, 1,500–2,500 words.

Please visit TWC’s Web site (http://journal.transformativeworks.org/) for complete submission guidelines, or e-mail the TWC Editor (editor@transformativeworks.org).

CONTACT—Contact guest editors Abigail De Kosnik (adekosnik@berkeley.edu) and andré carrington (profcarrington@drexel.edu). 

DUE DATE—March 1, 2018, for estimated March 2019 publication.

CFP: Wentworth is the New Prisoner – 5 & 6 April 2018, RMIT University, Melbourne, Australia

July 21, 2017 by
Wentworth is the New Prisoner
A two-day international conference
Thursday 5th and Friday 6th April 2018RMIT University, Melbourne, Australia

Confirmed keynote speakers and panellists:

Professor Sue Turnbull (University of Wollongong, Australia);
Kim Akass (University of Hertfordshire, UK);
Kate Hood (actress, writer and director, aka Prisoner’s Kath Maxwell);
Jan Russ (casting director, PrisonerNeighbours, etc.)

Wentworth (aka Wentworth Prison) is an award-winning Australian prison drama series now in its fifth season and recently renewed for a sixth season. It screens in Australia on Foxtel, in the UK on Channel 5 and in the USA on Netflix. The series was inspired by Prisoner (aka Cell Block H), a groundbreaking drama produced between 1979 and 1986, which was internationally successful and led to a cult following. Set in a women’s prison in contemporary Melbourne, Wentworth dramatises current cultural and political issues, and provides a rich example of creative and industrial screen practice that can often be read in the context of its predecessor, Prisoner.

This conference will unite those who study and are fans of Wentworth and Prisoner, with those who are or who have been involved in making the series.

We invite abstracts for papers (critical or creative, 20 minutes) from academics, practitioners or those who are both, including research degree candidates and early career researchers. All topics related to Wentworth and Prisoner will be considered, with the aim of generating a lively exchange of critical and creative ideas. Our intention is that selected papers from the conference will lead to a publication (most likely an edited collection).

Conference organising committee:

Associate Professor Craig Batty (RMIT University); Dr Tessa Dwyer (Monash University); Dr Radha O’Meara (University of Melbourne); Dr Stayci Taylor (RMIT University).

Please email your 300-word paper abstract, along with a 100-word biography, to governorwentworth@gmail.com by Monday 30 October 2017.

Potential paper and panel topics include, but are not limited to:

●      Gender in Wentworth/Prisoner

●      Sexuality and Queerness in Wentworth/Prisoner

●      Class in Wentworth/Prisoner

●      Prison industrial complex in Wentworth/Prisoner

●      Race and ethnicity in Wentworth/Prisoner

●      Diversity behind bars

●      Nation in Wentworth/Prisoner

●      Violence in Wentworth/Prisoner

●      Substance abuse in Wentworth/Prisoner

●      Mental health and mental illness in Wentworth/Prisoner

●      Aesthetics of Wentworth/Prisoner

●      Serial narrative and Wentworth/Prisoner

●      Performance in Wentworth/Prisoner

●      Wentworth as reboot or remake of Prisoner

●      Television genre and the prison drama

●      Prestige TV and prison dramas 

●      Reception of Wentworth/Prisoner

●      Wentworth/Prisoner fans, fan practices and fandoms

●      Distribution of Wentworth/Prisoner

●      Creative practice in the development and production of Wentworth/Prisoner

●      Industrial practice in the development and production of Wentworth/Prisoner

●      Wentworth/Prisoner and transnational TV and format trade

●      Activism, Social Change and Wentworth/Prisoner

●      Music and lyrics in Wentworth/Prisoner

Transmedia Literacy International Conference, 22-24 March 2018, Universitat Pompeu Fabra – Barcelona, Spain

July 21, 2017 by

Join us on March 22-24, 2018, for the Transmedia Literacy International Conference. This event brings together a vibrant and global community of media and education researchers and innovators. The conference is organized as a part of the dissemination activities of the TRANSLITERACY H2020 action, a project that involves researchers from Europe, Latin America and Australia. Beyond the paper sessions and the keynotes the Transmedia Literacy International Conference will include workshops and short presentations by education innovation leaders. The main objective of the conference is to share research outputs and practices around the following topics:

Transmedia literacy
Transmedia education
Transmedia skills and informal learning strategies
Media literacy
Educommunication
Student-generated contents
Collaborative cultures and education
Fan cultures and education

Transmedia Literacy International Conference will be held at the Universitat Pompeu Fabra – Barcelona, and will feature a series of workshops for teachers as well as two days of paper sessions and a special event around Transmedia Literacy. We hope you can join us!

This event has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 645238

Deadlines:
Proposals submission: October 31, 2017
Notifications: December 15, 2017

Registration:
With accepted proposals: from December 15 to February 15, 2017
Other participants: from February 16, 2017
Keynote speakers:
David Buckingham – University of Loughborough (United Kingdom)
Divina Frau-Meigs – Université Sorbonne Nouvelle (France)
Alejandro Piscitelli – Universidad de Buenos Aires (Argentina)
Other keynote speakers will be confirmed as soon as possible.
PROPOSALS

The Transmedia Literacy Conference will accept the following formats:

Research Papers: participants must send research papers (extension: 6,000 -8,000 words) before October 31, 2017. The Transmedia Literacy International Conference will accept proposals tailored to the diverse forms of research in the field of transmedia literacy, transmedia education, transmedia skills and informal learning strategies, media literacy, educommunication, student-generated contents, collaborative cultures and education, and fan cultures and education.
Paper parallel sessions will be held on March 22 (afternoon) and March 23 (morning & afternoon).
If you are interested in presenting a Research Paper, please fill and submit a proposal in English (download the Paper Guidelines) to the following email: transliteracyconference@upf.edu, clearly indicating that is a Research Paper proposal in the subject. Please send a MS Word file (.doc, or .docx); do not send PDF documents.
Deadline: October 31, 2017.
Innovative Educational Practices: participants must send before October 31, 2017 an extended abstract (extension: 1,200-1,500 words) describing a real educational experience in primary/secondary schools involving transmedia storytelling, collaborative practices in social media, student-generated contents o any other educommunicational activity.
Innovative educational practices sessions will be held on March 22 (afternoon) and March 23 (morning & afternoon).
If you are interested in presenting an Innovative Educational Practice, please fill and submit a proposal in English (download the specific guidelines here) to the following email: transliteracyconference@upf.edu, clearly indicating that is an Innovative Educational Practice proposal in the subject. Please send a MS Word file (.doc, or .docx); do not send PDF documents.
Deadline: October 31, 2017.
Workshops: the Transmedia Literacy International Conference will accept a short number of workshops oriented to high-school teachers/professors. The workshops should be designed for short groups (no more than 20 people) and the duration should be 4 hours (240 minutes including a break); they could explore different uses and experiences around transmedia storytelling and collaborative cultures in the classroom.
Workshops will be held on March 23 (morning & afternoon) and, eventually, on March 24 (morning).
Workshops can be in English, Spanish or Catalan (Los talleres pueden ser en inglés, castellano o catalán / Els tallers poden ser en anglès, castellà o català).
English: If you are interested in organizing a Workshop, please fill the following Workshop proposal (extension: 1,500-2,000 words) (download the specific guidelines here) and submit it to: transliteracyconference@upf.edu, clearly indicating that is a Workshop proposal in the subject. Please send a MS Word file (.doc, or .docx); do not send PDF documents.
Castellano: Si estás interesado en organizar un Taller, por favor completa la siguiente propuesta (descargar la guía) (extensión: 1.500-2.000 palabras) y envíala a: transliteracyconference@upf.edu, indicando claramente que es una propuesta de Taller. Por favor, envía un archivo MS Word (.doc o .docx); no envíes documentos PDF.
Catalán: Si estàs interessat a organitzar un Taller, per favor completa la següent proposta (descarregar la guia) (extensió: 1.500-2.000 paraules) i envia-la a: transliteracyconference@upf.edu, indicant clarament que és una proposta de Taller. Per favor, envia un arxiu MS Word (.doc o .docx); no enviïs documents PDF.
Deadline: October 31, 2017.
PROGRAM OF THE CONFERENCE (work in progress)

Thursday, March 22, 2018

09.00 – 13.00 Registration
10.00 – 13.00 Special opening event (live and streaming)
13.00 – 14.30 Lunch
14.30 – 15.30 Keynote conference
15.30 – 16.00 Coffee Break
16.00 – 18.00 Paper / Innovative Educational Practices Sessions
Friday, March 23, 2017

09.00 – 13.00 Registration
09.30 – 10.30 Keynote conference
10.30 – 11.00 Coffee Break
11.00 – 13.00 Paper / Innovative Educational Practices Sessions
13.00 – 14.30 Lunch
14.30 – 15.30 Keynote conference
15.30 – 16.00 Coffee Break
16.00 – 18.00 Paper / Innovative Educational Practices Sessions / Workshops
Saturday, March 24, 2017

10.00 – 14.00 Workshops
10.30 – 11.00 Coffee Break
11.00 – 12.30 Teacher’s Kit presentation

Important details

This conference is supported by the TRANSLITERACY Project / H2020 Research and Innovation Programme under Grant Agreement No. 645238. The registration is free and includes coffee breaks.
Participants with accepted papers, innovative experiences or workshops will have priority for registration. The registration will then be opened to other participants.
All conference rooms will be equipped with standard Wi-Fi broadband service, PC, Power Point / Adobe PDF software, AV projection, sound, and VGA adapters. We will not provide additional bandwidth capacity or provide other special equipment.

COMMITTEES

Scientific Committee

Carlos A. Scolari – Universitat Pompeu Fabra (Spain)
Elisenda Ardévol –Universitat Oberta de Catalunya (Spain)
Rosalía Winocur – Universidad de la República (Uruguay)
Gladys Ceretta – Universidad de la República (Uruguay)
Sara Pereira – Universidade do Minho (Portugal)
Raine Koskimaa – University of Jyväskylä (Finland)
Rebecca Enyon – Oxford Internet Institute (United Kingdom)
Simona Tirocchi – Università degli Studi di Torino (Italy)
Carlos Barreneche – Pontificia Universidad Javeriana (Colombia)
Gabriella Taddeo – Istituto Nazionale Documentazione Innovazione Ricerca Educativa (Italy)
Heather Horst – University of Sidney (Australia)
Sarah Pink – RMIT University (Australia)
Organization Committee

Carlos A. Scolari – Universitat Pompeu Fabra
Maria-Jose Masanet – Universitat Pompeu Fabra
Mar Guerrero-Pico – Universitat Pompeu Fabra
María-José Establés – Universitat Pompeu Fabra
Elisenda Ardèvol – Universitat Oberta de Catalunya
Israel Márquez – Universitat Oberta de Catalunya
Débora Lanzeni – Universitat Oberta de Catalunya
Arnau Gifreu – Universitat de Vic
Ruth Contreras – Universitat de Vic

The conference

FSN 2017 Louisa Stein ‘Fandom/Resistance’ Keynote: audio recording

July 18, 2017 by

Dear all,

Thanks to Finn Upham we are very happy to be able to provide an audio recording of Louisa Stein‘s ‘Fandom/Resistance’ keynote which was delivered at the Fan Studies Network 2017 conference. Finn was kind enough to record the keynote so that we could share with those of you that could not attend, and those who were there but may wish to listen to it again. This talk resulted in a lot of emotion in the room, so we are very happy that more of you can experience this striking and wonderful keynote.

You can also download the file.

Timestamps and links for the vids included are as follows:

11:18 – 11:30 Crazy by l_e_s
13:09 – 13:36 Light It Up – A Sailor Moon AMV by The Optional Studios
15:08 – 15:25 Light It Up (Women’s March Vid) by lolawaldorf
27:00 – 27:20 Carrie and Gary – A Better Son Daughter by eruthros2
33:12 Questions (Audience voices cut for audibility.)

The programme for FSN2017, which took place at the University of Huddersfield 24-25 June 2017,  is also available for download here.

CFP: The Routledge Companion to Media and Tourism 

July 15, 2017 by

The Routledge Companion to Media and Tourism – 1st Call for Expressions of Interest for Book Chapter

We warmly invite you to submit your book chapter abstract for consideration for our book proposal for the Routledge Companion to book series. The aim of the “Routledge Companion to” book series is to define the current state of theory and research in a specialised field, in this case media and tourism, and create a foundation for future scholarship and study. Thus this companion will provide a comprehensive, must-have survey of the media and tourism-field, and also map out the emerging critical terrain.

Submission of expressions of interest: 31st of August 2017

Editors:

Dr. Maria Månsson, Lund University, Sweden

Dr. Lena Eskilsson, Lund University, Sweden

Dr. Anne Buchman, University of Newcastle, Australia

The relationship of media and tourism continues to attract popular and academic interest. Lund University (Sweden) recently organised the 7th International Tourism and Media (ITAM) conference, and this call for proposals sprung from this event. The aim of the conference was to move tourism and media knowledge forward by including a broad range of interests and backgrounds within the field of tourism and media research. Themes presented at this conference were from different disciplines and included, for example, popular culture (especially film) and tourism; travel writing; media and the making of different tourism spaces; destination marketing; media, tourists and representation; sport, media and tourism; processes of mediatization and tourism; social media and tourism; smartphones and tourism; tourism information material and tourists searches for information and the film industry and tourism.

However, while there has been a growing interest for the interrelationship between media and tourism from different disciplinary perspectives, these discussions are often published in different forums. The Routledge Companion to Media and Tourism consequentially aims at providing a comprehensive state of the art concerning media and tourism research from a multidisciplinary approach. The aim is to have 40-50 authors from around the globe and with a range of disciplines and various stages of academic career contributing to this companion. Any such contributions will need to survey a specific topic and critically discuss the leading views in the area. This includes discursive and reflective pieces and also discussions of original empirical work (cases).
Contributions are welcomed that address (but are not limited to) the following broad areas:

  • Popular culture, fans and tourists

    The nexus between cultural heritage, media and tourism

    Film-induced tourism

    Media, tourism and spatial aspects

    Digitalisation, social media and tourism

    Smartphones and impact on tourism/tourists

    Travel writing, guide books

    Literary tourism

    Representation, media and tourism

    Destination marketing

    Tourists and Tourist Photography

    The impacts of popular culture on tourism organizations

    Mediatization, convergence and popular culture

    Media and tourist performances

    Media use and consumption

Submission information

Abstracts of 300 – 400 words in the form of a word-processed email attachment should be sent to Maria Månsson, maria.mansson@ism.lu.se, by 31st of August. Please include the details below with the abstract:

  • Proposed chapter title

    Author(s) and affiliation details

    Type of contribution (e.g., philosophical, conceptual, methodological, case study)

    Keywords (maximum of 5)

The approximate timeline, depending on the success of the proposal, is as follows:

Final submission deadline of abstract: 31st of August 2017
Notification of contribution: October 2017
Final submission deadline of full text (5000 words): January 2018
Target publication date: 2018

If you have any questions regarding this call for proposal don’t hesitate to get in touch.

Maria Månsson, Lund University, Sweden (maria.mansson@ism.lu.se)
Lena Eskilsson, Lund University, Sweden (lena.eskilsson@ism.lu.se)

Anne Buchmann, University of Newcastle, Australia (anne.buchmann@newcastle.edu.au

CFP: Gender and Horror

July 12, 2017 by

Following our previous call inviting chapter submissions for a new edited collection focusing on gender and horror, we have had such a large number of submissions that we are now aiming to publish three volumes. The first two will focus on films and on television but the third volume will cover other forms of media such as comics and graphic novels, fan literature, video games, and crossover media forms.

We would like to extend the call for papers in relation to the third volume only and will welcome 200 word abstracts plus a short personal bio. The deadline for this will be 19 July 2017.

​Responses to this call should be sent to Professor Robert Shail r.shail@leedsbeckett.ac.uk.

 

​The original cfp is below for your information.
This edited collection aims to re-examine horror in an era of remakes, reboots and re-imaginings. There have been many developments in the horror genre and whilst much of it has been reliant on previous material, there are also many shifts and changes such as
* cross-over of genres (for example, teen romance paired with vampires and werewolves, or horror in space);
* new formats such as Netflix, and cinema no longer being the only place we see horror;
* a resurgence of stories of hauntings and ghosts;
* and the popularity of ‘found footage’.

We wish to focus specifically on horror from 1995 to the present, as after a brief hiatus in the mainstream, the 1990s saw the return of horror to our screens – including our TV screens with, for example, Buffy The Vampire Slayer – and with horror and its characters more knowing than before.
We are happy for you to compare older material with newer versions, such as the recent Netflix version of The Exorcist (2016) with the original film The Exorcist (1973). The main requirement is that you interrogate whether the portrayal of gender has changed in horror – it may look like something different (more positive?) is happening, but is it?

We hope to encourage diverse perspectives and we welcome early career researchers and new voices to offer a different light on classic material, in sole- or multi-authored chapters.
We’d also like to gently remind potential authors that ‘gender’ doesn’t only apply to women, it applies to men and masculinities, and it encompasses non-binary identities and experiences, as well as issues about ‘race’, ethnicities and class. ​
The schedule is as follows:
* You send your chapter title, 200 word abstract and brief bio by the end of May 2017.
* The finalised proposal will be sent to the publisher Emerald in early summer.
* Your final first draft chapter (approx 7000 words) should be sent to us by January 31st2018 (reminder/s will be sent).
* We will return any comments/revisions by the end of March 2018,
* and ask that you send us the final revised chapter by the end of June 2018.
* The completed manuscript will be submitted in July 2018 for publication in early 2019.

Please send your chapter titles, 200 word abstracts and a brief bio to the book editors by the end of May.
If you have any queries, or would like to contribute but need to tweak the schedule, please email us.

Editors:
Dr Samantha Holland s.holland@leedsbeckett.ac.uk
Dr Steven Gerrard S.D.Gerrard@leedsbeckett.ac.uk
Prof Robert Shail R.Shail@leedsbeckett.ac.uk

If you are not familiar with the publisher, Emerald are an independent publisher, established by academics in 1967 and committed to retaining their independence.
And for your future reference: All hardback monograph publishing will be available in paperback after 24 months, and all books are available as ebooks. Emerald commission and cover the cost of indexing if authors don’t want to do it themselves; use professional designers for each individual book jacket; and aim to exceed the royalties of other publishers. They have international offices, but pride themselves on not being a ‘corporate machine’.

In Praise: Fandom Zine now accepting submissions

July 12, 2017 by

 

CFP: The Second Annual Ann Radcliffe Academic Conference at StokerCon 2018

July 12, 2017 by

Call for Presentations:

The Second Annual Ann Radcliffe Academic Conference at StokerCon 2018
Abstract Submission Deadline: November 27, 2017

The Second Annual Ann Radcliffe Academic Conference at StokerCon 2018
Conference Dates: March 1 – 4, 2018
Conference Hotel: Biltmore Hotel, Providence, Rhode Island
Conference Website: http://stokercon2018.org/

The Ann Radcliffe Academic Conference co-chairs invite all interested scholars and academics to submit presentation abstracts related to horror studies for consideration to be presented at the Third Annual StokerCon, March 1 – 4, 2018 held at the historic Biltmore Hotel in Providence, Rhode Island (see: http://www.providencebiltmore.com/ ).

The inaugural Ann Radcliffe Academic Conference in 2017 was a tremendous success and saw many presentations covering various aspects of horror studies. It is the goal with the second conference to continue the dialogue of academic analysis of horror. Hence we are looking for completed research or work-in-progress projects that can be presented to with the intent to expand the scholarship on various facets of horror that proliferates in:

• Art
• Cinema
• Comics
• Literature
• Music
• Poetry
• Television
• Video Games
• Etc.

We invite papers that take an interdisciplinary approach to their subject matter and can apply a variety of lenses and frameworks, such as, but not limited to:

• Auteur theory
• Close textual analysis
• Comparative analysis
• Cultural and ethnic
• Fandom and fan studies
• Film studies
• Folklore
• Gender/LGBT studies
• Historic analysis
• Interpretations
• Linguistic
• Literature studies
• Media and communications
• Media Sociology
• Modernity/Postmodernity
• Mythological
• Psychological
• Racial studies
• Semiotics
• Theoretical (Adorno, Barthes, Baudrillard, Dyer, Gerbner, etc.)
• Transmedia

Conference Details

• Please send a 250 – 300 word abstract on your intended topic, a preliminary bibliography and your CV to AnnRadCon@gmail.com by November 27, 2017. Responses will be emailed out during the last week of November/first week of December, 2017.
• Presentation time consideration: 15 minute maximum to allow for a Question and Answer period. Limit of one presentation at the conference.
• There are no honorariums for presenters; this is an academic conference. There is, however, a StokerCon2018 award opportunity; see http://horrorscholarships.com/the-scholarship-from-hell/
• The co-chairs of the Ann Radcliffe Academic Conference are exploring the possibilities of editing and publishing a volume of conference presentations (along with selections from the inaugural conference). Presenters will have the opportunity to edit and expand their presentations into proper chapters if they are selected for the volume.

Organizing Co-Chairs

Michele Brittany & Nicholas Diak
Email: AnnRadCon@gmail.com

 

The Ann Radcliffe Academic Conference is part of the Horror Writers Association’s Outreach Program. Membership to the Horror Writers Association is not required to submit or present, however registration to StokerCon 2018 is required to present. StokerCon registration can be obtained by going to http://www.stokercon2018.org. There is no additional registration or fees for the Ann Radcliffe Academic Conference outside StokerCon registration. If interested in applying to the Horror Writer’s Association as an academic member, please see http://www.horror.org/about/ .

StokerCon is the annual convention hosted by the Horror Writers Association wherein the Bram Stoker Awards for superior achievement in horror writing are awarded.

CFP: Bridging Gaps:National Identity in Persona, Branding, and Activism

June 27, 2017 by

University of Western Australia

Perth, Australia
December 8-10, 2017


CALL FOR PAPERS:

With the rise of Web 2.0, people brand themselves through social media as a singular person. The online visibility of their brand often takes precedence over social contributions. Their online presentation, however, is a reflection of how they want to be perceived in a collective setting. How does this kind of branding differ to a local business service or an international celebrity who also brands themselves online? What impact is persona branding having on society and the way people view themselves?

A focus on the persona of activists shows the particular impact of branding in society. An activist’s voice, like that of a political leader, is often heard if they have a strong brand. Yet, the perception is often specific to their national contexts. How are socialist actions in North Korea viewed in the Western world? How does having a female political leader change the perception of a country? How are immigrants seen around the world? What role does media play in creating theseconstructed views in national and transnational contexts?

We encourage scholars and industry practitioners to question, explore, and problematize the notion of national identity in persona, branding, and activism. We ask:how is a country reflected through its celebrities, popular history, stereotypes and myths? Often one individual can have global fame, which can result in branding a nation or city and develop a country’s cause as well. Their persona becomes the basis of how a place is perceived internationally. For example, American born icon Elvis Presley is used to represent Las Vegas and Memphis, while George Clooney has attached himself to Darfur through his activism. Similarly, Steve Irwin became a symbol of Australian culture through his philanthropy and his fame as “The Crocodile Hunter.” A decade since his death people still create the association between him and the nation’s identity, while overlooking how race, gender and class affect one’s overall brand identity.Myths surrounding national identity are also evident in beauty pageants and the Olympics. How do these stereotypes affect our understanding of culture?

The Centre for Media and Celebrity Studies (CMCS) Bridging Gaps conference, in association with sponsors Centre for Ecological, Social, and Informatics Cognitive Research (ESI.CORE) and WaterHill Publishing, invites papers and films that explore the relationship among four key themes – persona, branding, activism, and national identity. We invite academics, filmmakers, journalists, publicists, designers, advertisers, marketing specialists, charity organizers, and guests to explore and connect themes from a range of interdisciplinary fields and generate a valuable discussion and practice that will inspire change.

Attendees may present papers, take part in a workshop or create a roundtable discussion on the themes of persona, branding, activism and national identity. We recommend roundtables on Heath Ledger but open to discussions on other stars in national contexts of Australia and abroad.

Extended versions of selected papers will be published in an edited book by WaterHill Publishing, while others will be invited for the opportunity to publish work in the CrossBridge journal.

We also invite people to send in videos for the Celebrity Chat Award. The idea forCelebrity Chat was born in Melbourne and the first recording took place in Perth. We are proud to be bringing it back home. The best video/documentary will be selected based on its ability to draw attention to a significant matter, be relevant to the conference theme and/or inspire change.

Registration includes: Your printed conference package, catered lunch, coffee / tea breaks, evening drinks, professional development workshop, access to evening receptions, eligibility to publish in edited book, and consideration for the $100 best paper and screen awards.

Submission guidelines:

    • 250-word abstract or workshop / roundtable proposal
    • Include a title, your name, e-mail address, and affiliation if applicable
    • Submit to conference Chairs Dr Jackie Raphael and Dr Celia Lam at email address: celeb.studies@gmail.com
    • Deadline for abstract submission:July 28, 2017
    • Notification of acceptance: August 25, 2017
    • Full text dueNovember 1, 2017
    • Pre-Conference reception: December 8, 2017
    • Conference presentations:December 9-10, 2017
    • Publication of edited book: 2018

Celebrity Chat Video Submissions:

  • Video length should be 10-20 minutes
  • Include a title, your name, e-mail address, and affiliation if applicable
  • Submit to conference Chairs Dr Jackie Raphael and Dr Celia Lam at email address: celeb.studies@gmail.com
  • Deadline for submission: August 1, 2017
  • Notification of acceptance: September 15, 201
  • Conference screening: December 9-10, 2017

Topics include but are not limited to:

  • National Identity and Persona
  • Activism and Philanthropy
  • Fandom and Audiences
  • Endorsements and Advertising
  • Branding and Graphic Design
  • Tourism and Promotion
  • Politics and Leadership
  • Persona and Online Presence
  • Mass Media and Social Media
  • Public Relations and Publicity
  • Journalism and Newsworthy Topics
  • Fame and Fortune
  • Gender and Power
  • Icons and Status
  • Beauty Ideals, Pageants and Culture
  • Models as Role Models
  • Olympics and Representing Nations
  • Sporting Identities
  • Literature and Photography
  • Film and Television
  • Laws and Policies
  • Theory and Methods
  • Research Agenda and Business Models
  • Ethics and Morality
  • Cognition and Memory
  • Social Innovation and Change
  • Education and Advocacy
  • Community Building and Community Partnerships

Conference Chairs: Dr Jackie Raphael and Dr Celia Lam
Conference Committee: Dr Kirsty Fairclough, Dr Bertha Chin and Bethan Jones and
Conference URLhttp://cmc-centre.com/conferences/2017perth/

CFP: MeCCSA 2018

June 23, 2017 by

10—12 January 2018


London South Bank University
Theme: Creativity and Agency
Deadline for proposals: Monday 18 September 2017

We are pleased to invite you to submit abstracts, panel proposals and posters for the next Annual MeCCSA Conference, to be held on 10—12 January 2018 at the School of Arts and Creative Industries, London South Bank University.

The conference is the annual presentation of the best work across the whole range of MeCCSA interests, and is also an opportunity to hear about and discuss important topics in both media and HE policy relevant to MeCCSA members.

We 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:

• Cultural and media policy
• Film and television studies and practice
• Radio studies and practice
• Representation, identity, ideology
• Social movements
• Digital games studies
• 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
• Media practice research and teaching

The theme of the MeCCSA 2018 conference is Creativity and Agency. ‘Creativity’ is a concept that is, at least implicitly, central to many courses in our subject area, which often entail analysis of ‘creative industries’ and include elements of ‘creative
practice’ as part of the curriculum. Yet it remains a highly contested concept, from the official promotion of the ‘creative economy’ through to more recent debates about the commodification of everyday ‘creative labour’ via social media. How has the concept
developed in the twenty-first century? How should we interpret today’s creative landscape?

Confirmed keynote speakers:

• Professor David Gauntlett (University of Westminster)
• Professor Angela McRobbie (Goldsmiths, University of London)
• Professor Andy Miah (University of Salford)

We invite proposals for papers, practice contributions, themed panels and other presentations which engage with the various artistic, organisational, social, political, economic, individual, collective and technological dimensions of creativity and agency.
Potential topics could include, but are not limited to:

• art and activism
• creativity and cultural policy
• everyday creativity
• public service media as a creative agent
• technology and creativity
• creative entrepreneurship and cultural industries
• individual and collective conceptions of creativity
• non-fiction and creativity
• creativity and pedagogy
• creative labour and social media
• creativity and practice research

Deadline for proposals: Monday 18 September

Individual abstracts should be up to 250 words. Panel proposals should include a short description and rationale (200 words) together with abstracts for each of the 3-4 papers (150-200 words each including details of the contributor), and 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-based work

We actively support the presentation of practice-as-research and have a flexible approach to practice papers and presentations. This may include opportunities to present papers and screenings in the same sessions or as part of a separate screening strand. 
We also welcome shorter papers in association with short screenings/sharing. We have dedicated presentation spaces to display practice artefacts including screenings and computer-based work. For displaying practice work, please include specific technical data
(e.g. duration, format) and a URL pointing to any support material when submitting your abstract.

Direct link for proposals submission:
http://tinyurl.com/abstracts-2018

Conference website: http://www.meccsa2018.org
Email enquiries: MeCCSA2018@lsbu.ac.uk
Twitter: @MeCCSA2018