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)
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CFP: This is Me: Interrogating the Female Pop Star Documentary

May 22, 2023 by

This is Me: Interrogating the Female Pop Star Documentary.

From Lady Gaga’s Five Foot Two (2017) to BlackPink’s Light Up the Sky (2020), Billie Eilish’s The World’s A Little Blurry (2021), Love, Lizzo (2022) and many more, documentaries on female pop stars have been released with increased frequency in the past decade. Many of the world’s most famous female artists both in (and beyond) the pop genre have allowed fragments of their onstage and offstage lives to be filmed and released for public consumption as part of the bolstering of their brand.

This broad, interdisciplinary collection (which will be the first full length study of its kind) to be published by Bloomsbury Academic in early 2025, will address the ways in which women in pop music documentaries have played a significant role in shaping the narrative of popular music history. Such documentaries shed light on the experiences, challenges, and achievements of female artists in the pop music genre and provide a platform to explore the artistry, cultural impact, and personal stories of women who have made an indelible mark on the pop music landscape. The portrayal of women in pop music documentaries occupies a crucial space in the exploration of popular music history. Such documentaries celebrate the achievements of iconic female pop artists, challenge and reaffirm gender stereotypes, highlight artistic prowess, and influence, and share personal journeys of resilience.

The collection will address the complexities of the construction of female celebrity as portrayed through the pop star documentary. The essays in this volume will employ broad cultural theory frameworks to investigate what this often-overlooked genre of documentary has to offer in understanding both popular music and celebrity culture today.

Suggested topics/themes for chapters (without being limited to):

• Constructions of celebrity
• Abuse narratives
• Ageing
• Gender identities
• Materiality
• Narratives of motherhood
• Racial identities
• Social histories
• The music industry
• Mental health narratives

Proposals/abstracts should be 500 words maximum outlining your proposed chapter. Please include up to 5 keywords and a brief biography (150 words) of the author(s) which includes an institutional affiliation and your contact email.

Editor: Kirsty Fairclough (SODA at Manchester Metropolitan University)
Please send your proposal(s) to: womeninpopdocs@gmail.com

Important Dates:

•Abstract Submission Deadline: Friday 30th June 2023
•Notification of Acceptance: Sunday 30th July 2023
•Full Chapter Submission: Tuesday 30th January 2024
•Expected Publication: January 2025

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CFP: Fright Nights: Live Halloween Horror Events

May 18, 2023 by

CALL FOR CHAPTERS: EDITED COLLECTION

Fright Nights: Live Halloween Horror Events

Editors: Kieran Foster, University of Nottingham (UK), and Cassie Brummitt, University of Nottingham (UK)

Horror’s origins – with its roots in folklore, mythology and the oral tradition – stretch much further back in time than screen media, and beyond even ‘canonical’ literature such as Frankenstein and Dracula. However, in the 20th century and beyond, horror as a media genre has become big business, especially in the screen industries where horror film and television franchises have become globally-exploited intellectual properties ripe for spin-offs, sequels, remakes, transmedia world-building and merchandising (Fleury and Mamber 2019, Harris 2010, Mee 2022).

What remains less explored in extant scholarly literature, which this edited collection intends to address, is the phenomenon of space and place within horror’s commercial logics. Importantly, the past few decades have seen a rise in immersive, interactive environments that draw on horror imagery as an indelible part of the attraction. Events such as escape rooms, immersive experiences and fan-led celebratory events enable horror intellectual property to escape the confines of the big and small screen to pervade cultural spaces globally (Kennedy 2018, Ndalianis 2010). These physical, participatory, often visceral environments have implications for the ways in which horror properties are materialised, remediated, and engaged with.

These kinds of immersive attractions are no more popular than at Halloween, where it has become increasingly common to see both branded and non-branded horror events take place across the globe. For example, in the UK, pop-up ‘scream parks’ such as York Maze’s ‘HallowScream’, or theme park events such as ‘Fright Nights’ at Thorpe Park, draw on non-branded horror, folklore and supernatural imagery. Meanwhile, internationally, events such as ‘Halloween Horror Nights’ (at Universal Studio sites in Orlando, Hollywood, Singapore and Japan) and ‘Mickey’s Not-So-Scary Halloween Party’ (at Walt Disney World’s Magic Kingdom in Orlando and Disneyland Paris) exploit branded iconography, IP, and franchises.

Horror’s preoccupation with the abject and the visceral offers arguably unique opportunities to translate cultural fears into a physically inhabitable and interactable experience. Seeking to address this important phenomenon, this edited collection will examine Halloween-focused horror events as an under-explored but sizable part of horror media’s global creative and commercial logics, both historically and contemporarily.

We are seeking abstracts of up to 250 words in response to this theme (plus author biography up to 100 words). The form of contributions can be flexible, whether a standard chapter, an interview (for example, with a practitioner, an industry professional, or fans), an autoethnographic piece, or another creative means of exploring the topic.

Topics may include but are not limited to:

  • Issues of labour in Halloween horror events
  • Marketing and promotional discourses of Halloween horror events
  • Franchising and intellectual property in Halloween horror events
  • Immersion and interactivity
  • Halloween horror events as film, media or literary tourism
  • Notions of play and lusory attitudes to Halloween horror events
  • Performance and emotion in Halloween horror events
  • Audience engagement and experience
  • Fan studies of horror events
  • Narratives and storytelling
  • Industrial relationships, logics and practices

Please send your abstract and bio to Dr. Kieran Foster (kieran.foster@nottingham.ac.uk) and Dr. Cassie Brummitt (cassie.brummitt@nottingham.ac.uk). The deadline for abstracts is July 24th 2023.

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CFP: The SA Fan Hub: Fan Studies in the Global South

May 16, 2023 by

19 – 20 October 2023 at Nelson Mandela University, South Campus, Gqeberha, Eastern Cape

There is an idea that everyone is a fan of something and has a corresponding attachment to a text/object. The aim of understanding how or what this attachment inspires, and the perception thereof is the intention of fan studies.

Social and new media has introduced new practices that has formed an integral part of contemporary culture. These practices, with its roots entrenched in fandom, continues to expand in terms of not only its cultural influence but also the diversity of the participants. As it stands, the field of fan studies demonstrates a distinct lack of discussion in and around transcultural fandom, especially that of the global south and, particularly, Southern Africa. Chin and Morimoto (2013), two prominent fan studies scholars affirm that non-Western fandoms remain part of the periphery of mainstream fan culture and remain disconnected despite the migration of fandom to online spaces (2013:105). As such, this symposium intends to bring together academics, acafans, and fans who want to discuss and understand how fandom is developing across the cultures and borders of the global south and Southern Africa. We are seeking participants whose approach to fan studies shares the intention of contemplating new avenues of inquiry that consider fan studies from an interdisciplinary and distinctly African perspective.

The prospective presentations, panels, and/or discussions will ideally have a clear global south perspective and may include but are not limited to:

  • Fan practices and social media platforms
  • Fan identities
  • Transcultural fandom
  • Industry
  • Race
  • The ethics of fan studies
  • Fans as curators
  • African fan fiction
  • African/Global South sports fans
  • Fan tourism
  • Music fandom
  • Queer fandom
  • Masculinity
  • Femininity
  • Fan cultures
  • Whiteness in fandom
  • Intersectional fandom
  • Political fandom
  • The future of fan studies

Topic/abstract Submissions: 31 June 2023

Please Note: Although the symposium is scheduled to be held in person on the NMU campus in Gqeberha, arrangements will be made, upon request, for hybrid presentations to accommodate participants who are unable to travel.

Submissions must include the following elements:

  • Complete contact information and institutional affiliation (if applicable) for the participant;
  • Biography
  • An indication of which aspect you want to form part of. i.e. presentation, panel, discussion;
  • A 250-word overview of your topic

References
Chin, B. and Morimoto, L. H. (2013). “Towards a theory of transcultural fandom,” Participations, 10, pp. 105.

The SA Fan Hub

Dr. Catherine Duncan
Dr. Janelle Vermaak-Griessel
Dr. Natalie Le Clue

https://sites.google.com/view/safanhub/home?authuser=4

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CFP: The 50th Anniversary of The Princess Bride

May 9, 2023 by

Signum University Press is pleased to announce a call for papers in honor of the 50th anniversary of William Goldman’s The Princess Bride, to be released in 2024 and edited by Faith Acker and Maggie Parke. We welcome papers by experienced and renowned or young and emerging scholars, of all nationalities, genders, identities, and colors. Interested contributors may submit a 500-word abstract in English by 26 May 2023 to faith.acker@signumu.org and maggie.parke@signumu.org. Full drafts of 4,000-6,000 words maximumwill be due by 1 October 2023.

While existing academic scholarship on The Princess Bride is sparse, contributions should draw upon secondary criticism in relevant areas to situate their essays within existing critical conversations. The editors are happy to discuss options with prospective and accepted authors. While we are open to all approaches to the text and film, some starting points might include:

● Connections to traditions of folklore and fairy tales

● Connections to Goldman’s larger literary or cinematic canon

● Goldman’s frame narrative

● Critical (feminist, racial, socioeconomic, etc.) readings of the text

● Language and wordplay

● Misogyny and/in satire

● Cinematic adaptation

● Fandom and the role of fandom

● Afterlives of The Princess Bride

● The Princess Bride as a cultural icon

We expect completed chapters to be released in serial form beginning in 2024. When serial release has concluded, the chapters will be published in eBook, audiobook, and printed codex formats. The Signum University Press pays generous royalties: usually around 50% on net, which will be shared among all book authors and editors. Our authors are never asked to pay anything up front to offset publication costs. SUP also welcomes full book manuscripts on this and related topics. Learn more at https://press.signumuniversity.org/submissions/. For any further inquiries, contact us at press@signumu.org.

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CFP: Popular Music Autobiographies: Rereading Musicians and their Audiences

April 13, 2023 by

CALL FOR CHAPTERS

“POPULAR MUSIC AUTOBIOGRAPHIES: REREADING MUSICIANS AND THEIR AUDIENCES”

This broad, interdisciplinary collection to be published by Bloomsbury Academic in 2024 will consider why popular music autobiography has recently become such a widely-read genre and a significant factor in mediating popular music for its audience.

Texts such as Viv Albertine’s Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys, Miki Berenyi’s Fingers Crossed, Alex James’ Bit of a Blur, Nile Rodgers’ Le Freak, Gucci Mane’s Autobiography of Gucci Mane, and Bob Dylan’s Chronicles have been critically acclaimed and recorded on various best-seller lists whilst delivering for many fans an apparent insider’s understanding of musicians whose work they are invested in.

Yet such narratives have many other functions beyond thrilling fans with a sense of intimacy. Pop music autobiographies have variously attempted to rewrite social history; to redress gender or racial stereotypes; to question received models of fame; to validate new genres and scenes; to explore the renditions of subjectivity in pop music and lyrics; to justify transgressive behaviour; to critique the music industry.

The essays in this volume will address such diverse questions as the above, employing cultural theory frameworks to investigate what this often patronised or stereotyped genre has to offer in understanding popular music and its audiences today. The collection will also consider the forms deployed in pop music autobiographies, which range from familiar narrative arcs to experimental texts and virtual platforms.

We will work from a broad definition of autobiography, including conventional written narratives, via renditions of subjectivity in concerts, interviews, and life-writing, to manifestations of musicians’ lives including social media, museums, and avatars.

Suggested topics/themes for chapters (feel free to propose others that are important to you):

Earlier narratives by musicians before the rock era
Interviews as dialogised autobiography
Experimental forms of autobiography vs conventional narratives
Transgressive autobiographies and rock mythologising
Female and feminist musicians’ life writing
Musicians’ houses and museums as material Autobiographies
Musical subjectivities and musical genres
Lyrics as coded autobiography
Concerts as performed subjectivity
Ghosted autobiographies and promotional narratives
Oral histories and group autobiography
Musicians’ social media personae as real time virtual autobiographies
Avatars: performing virtual subjectivities

Proposals/abstracts should be 500 words maximum. Please include up to 5 keywords and a brief biography of the author(s) which includes an institutional affiliation and your contact email.

Editorial team: Tom Attah (Leeds Arts University), Kirsty Fairclough (SODA at Manchester Metropolitan University), Christian Lloyd (Queens University of Canada)

Send your proposal(s) to: poplifewriting@gmail.com

Deadline for Proposals: 30th April, 2023. Accepted authors will be notified w/c 15th May 2023. Accepted chapters to be delivered no later than 15th January 2024.

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CFP: Audience Conference

April 2, 2023 by

Call for presentations: Audience Conference, 6 July 2023 
Hosted by Birmingham Centre for Media and Cultural Research, Birmingham City University

 
Audience is one of the pillars of media studies, alongside industry and text. Accordingly, the current Birmingham Centre for Media and Cultural Research (BCMCR) research theme returns to audience as a concept, to consider methods for studying and addressing audiences in our own research practice, and how we train our students to think about and to study audiences at undergraduate and postgraduate levels. As part of this project, we are holding a one-day conference to share current theorisations and uses of audience as a concept.


There are many questions we can ask about the state of audience today. For example, how do media literacy and misinformation, populism and democracy, short-form viral content, and different humanities ‘turns’ (archival, transnational, memory, etc.) reshape or confirm scholarly views of what an audience is? Is there still a ‘mass’ audience, in the UK or elsewhere? Are the methods we use for audience research fit for purpose, given the huge swathes of people who have, historically, been left out of audience research?


Areas of interest can include but are not limited to:

    Audience as viewer/listener/reader

    Audience as commodity

    Audience as consumer, user, player, and/or citizen

    Audience as participant/producer

    Audience in the singular or plural 

    Fan audience(s)

    National/international/transnational audience(s)

    Methodology and audience research

    Pedagogy and audience research

 
Please send 300-word abstracts (for individual presentations no more than 20 minutes long) and a short author bio to bcmcr.audience@gmail.com by 5 May 2023. We aim to communicate decisions by 19 May 2023.

Panel proposals are also accepted: please submit a rationale alongside abstracts for each contribution (max. 750 words total, rationale and abstracts together).


Thank you,
Charlotte Stevens and Hazel Collie
Birmingham Institute of Media and English
Birmingham City University

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Call for Chapters: Transcultural Media Fandom in the Asia Pacific

March 13, 2023 by

Call for Chapters: Transcultural Media Fandom in the Asia Pacific

Editors

Dr Tingting Hu

Assistant Professor, Department of Media and Communication, Xi’an Jiaotong-Liverpool University

Dr Fang Wu

Associate Professor, School of Media and Communication, Shanghai Jiao Tong University

Targeted publisher

Hawaii University Press (AsiaPop!)

Routledge (Digital Media and Culture in Asia)

Project Aims

In recent years, the field of fan studies has seen exponential growth in the global academia, with many remarkable books such as the Routledge Companion to Media Fandom (2018), edited by Melissa A. Click and Suzanne Scott, and Aussie Fans: Uniquely Placed in Global Popular Culture (2019), edited by Celia Lam and Jackie Raphael adding to the literature. While the former aims to evaluate the state of the field and comprehensively survey core concerns, the latter focuses on how Australian fandom explores the national popular culture scene through themes of localization and globalization. In the Asian context, Lu Chen’s monograph Chinese Fans of Japanese and Korean Pop Culture (2018) has focused on the reception and interpretation of the Chinese audience involving the content of transnational cultural flows in East Asia. 

Previous literature has predominantly focused on media fandom in the U.S. and the U.K., with only sporadic non-Western fandom-related scholarships. Despite popular Asian cultures such as Hallyu and Otaku creating a global impact in recent years, the Asia-pacific continues to receive scant academic attention, largely because the Asia-pacific has long been conceptualized as a geographically vast and culturally heteroglossic ‘other’ to the Euro-American formation (Wilson and Dirlik, 1994). While some scholarships have investigated how stardom and fandom in China, Korea, and Japan influence western countries in terms of culture, economy, and politics, popular cultural exchanges and transcultural practices among Asian Pacific countries still require closer observation.  

This project’s goal is to bring together Asian-pacific-focused media fandom research across diverse disciplines and contexts to assess the state of the field, empirically investigate fandom activities, and point to new research directions. Engaging with a wide array of media texts and formats, this project will be organized into three main sections:

Part I 

Identities, Activities, and Practices 

  • the transformative textual practices of fans.
  • the transcultural practices and media activities of fans.
  • the range of identities that are represented in fandom media practices/activities.

Part II 

Technology, Industry, and Economy 

  • the networked relationship between media technology, industry, and fans.
  • the dynamics between media fandom, industry, and economy.
  • the evolution of media fans in relation to technology, industry, and economy in different cultural contexts. 

Part III

Gender and Sexuality 

  • the gendered identities of fans as represented by their media activities.
  • the gendered and/or sexual-related practices/issues involved in fandom media activities.
  • the fandom engagement with sexual minorities and/or the LGBTQ communities.

This anthology will adopt a transcultural perspective to broaden our knowledge of the complex ways that media fandom develops across cultures and national borders. In the Routledge Companion to Media Fandom’s first edition, Click and Scott (2018) have argued that “The absence of a robust dialogue in fan studies scholarship about race and transcultural fandom is one of the field’s most obvious deficiencies” (p. 241). They have also mentioned Chin and Morimoto’s (2013) call for more attention to transcultural fans and assertion: “… non-English (often non-Western) fandoms are not peripheral to ‘mainstream’ fan culture. Rather they are part of the transcultural interplay of fandom as much as any other, separated only by barriers of language, distribution, and availability that have become eminently surmountable as fandoms have migrated online” (p. 105).

In conclusion, we hope to examine diverse forms of media fandom research in the Asian-pacific contexts (within but not limited to the thematic scope listed above), paying attention to Southeast Asia, Hong Kong, Taiwan, Australia, New Zealand, and broader Oceania. 

Submission

Please send a 500-word abstract and your CV to the editor at tingting.hu_academic@hotmail.com, wufangwf@sjtu.edu.cn.

Abstract submission deadline: May 1, 2023

Submission of full proposal to the publisher: September 1, 2023

If the proposal is accepted, full chapters would be expected by December 2023.

References

Chen, L. (2018). Chinese Fans of Japanese and Korean Pop Culture. Routledge. 

Chin, B. and Morimoto, L. H. (2013). “Towards a theory of transcultural fandom,” Participations, 10, pp. 92-108.

Click, M. A. and Scott, S. (2018). “Race and transcultural fandom: introduction,” The Routledge Companion to Media Fandom, pp. 241-243.

Lam, C. and Raphael, J. Eds (2019). Aussie Fans: Uniquely Placed in Global Popular Culture. University of Iowa Press. 

Wilson, R., and Dirlik, A. (1994). “Introduction: Asia/Pacific as space of cultural production,” boundary 2, 21(1), 1-14.

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CFP: Edited volume for Bloomsbury Series in Asian Celebrity and Fandom Studies

December 16, 2022 by

CFP: ‘Star and Celebrity Branding within Asia: Using Comradery Capital’ edited volume for Bloomsbury Series in Asian Celebrity and Fandom Studies

Editors: Jackie Raphael and Celia Lam

Call for chapters
The centrality of the celebrity commodity to the flow of cultural and economic capital in mediascapes has been explored by scholars such as Driessens and Marshall who note that celebrities are “manufactured by the celebrity industry” (Driessens, 2012, p. 643), and a mechanism to sell products. Marshall notes that the “celebrity as public individual who participates openly as a marketable commodity serves as a powerful type of legitimation of the political economic model of exchange and value – the basis of capitalism – and extends that model to include the individual (2014 [1997], p. xlviii).

In a recent publication, Celebrity Bromances (Routledge, 2022), we engage with the notion of the celebrity commodity, expanding Driessens’ celebrity capital to the dynamics of celebrity relationships. Driessens outlines how celebrities become part of the currency in a commodity culture, amassing capital that can be traded for profit to the benefit of the celebrity or affiliated products. Celebrities are therefore seen as cultural commodities (Marshall, 2014; Driessens, 2012, 2013); products of culture that contain value which can be traded for economic capital.

The commodification of celebrity interactions is a lens through which celebrity bromances are explored. We suggest that a “bromance capital” operates in contemporary celebrity culture, wherein the bromance is not only used as a tool to draw attention to individual celebrity figures. It also becomes a cultural “product” which gains value as a consequence of the affective attachments it provokes. Expanding the discussion beyond male homosocial intimacy, we also propose the concept of comradery capital, which is inclusive of group dynamics and functions across genders. Comradery capital refers to inherent value of the presentation of celebrity friendships and how these are utilised for the promotion of movies, television shows, charities, and products. The capital can fluctuate depending on levels of authenticity and how the relationship is performed.

While Celebrity Bromances explored some examples of comradery capital, these examples originated mostly from Hollywood celebrity culture. In our efforts to explore the operation of comradery capital, we wish to examine the various readings of comradery capital across countries in Asia. For example, The Avengers cast promotes their dynamic and films in interviews across Asian countries. Similarly, the way Gal Gadot and Chris Pine perform their friendship in the promotion of the Wonder Woman films or Chris Hemsworth and Tessa Thompson for Men In Black International.

We would like to capture cultures from around Asia including Japan, Korea, Dubai, Lebanon, India, China, Iran, Singapore, Pakistan, Malaysia, Israel and Indonesia. In examining the way comradery capital is performed and perceived in these various regions, the book would be able to capture the way in which celebrities vary their performances of friendship to take into account cultural differences of acceptable physical contact, understanding of language and slang, and the reading of sexuality and gender. It will also examine how comradery capital is a global promotional tool, breaking the barriers of communication.

We welcome contributions that focus on the political economy of comradery capital, as well as the affective/empowering dimensions of comradery capital, including fan and consumer relations.

We encourage interested authors to review definitions of bromance and comradery capital in Celebrity Bromances by accessing the open access chapters at the below links. We encourage an engagement with these concepts in abstracts submitted.

Chapter 4 – ‘Utilising’ Bromances<https://emea01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.taylorfrancis.com%2Fchapters%2Foa-mono%2F10.4324%2F9781003093329-4%2Futilising-bromances-celia-lam-jackie-raphael%3Fcontext%3Dubx&data=05%7C01%7C%7C5c7a858a51014954e98008dadf4891f8%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638067800052913989%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=xqIIXx%2FP%2FRm4LqPSE6fIeuLBGsklVF8RXUdDVzVfubQ%3D&reserved=0>

Chapter 5 – Beyond Bromances<https://emea01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.taylorfrancis.com%2Fchapters%2Foa-mono%2F10.4324%2F9781003093329-5%2Fbeyond-bromances-celia-lam-jackie-raphael%3Fcontext%3Dubx&data=05%7C01%7C%7C5c7a858a51014954e98008dadf4891f8%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638067800052913989%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=SsEeWFN%2B%2FwF6gSd7JZAo05FlKavhV%2BPziTUVDKSFFUY%3D&reserved=0>

Topics could include, but are not limited to:

·      Promotion of Hollywood films in Asian contexts

·      Reception of Hollywood cast dynamics in Asian contexts

·      The creation and presentation of cast dynamics in Asian contexts, including same and mixed gender (binary and non-binary) casts

·      The reception of regional cast dynamics in Asian contexts

·      Creation and reception of joint or group celebrity persona

Submission
Please send the following to the editors at: cjcelebrityresearch@gmail.com<mailto:cjcelebrityresearch@gmail.com> by April 1, 2023:

–       300-word abstract

–       100-word bio

–       5-6 key words

Contact: cjcelebrityresearch@gmail.com<mailto:cjcelebrityresearch@gmail.com>.

Anticipated timeline:
Abstract submission deadline: April 1, 2023
Submission of full proposal to Bloomsbury: July 1, 2023

If the proposal is accepted, full chapters would be expected by November 2023.

References
Driessen, O. (2012). The celebritization of society and culture: Understanding the structural dynamics of celebrity culture. International Journal of Cultural Studies, 16(6), 641–657. https://emea01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fdoi.org%2F10.1177%2F1367877912459140&data=05%7C01%7C%7C5c7a858a51014954e98008dadf4891f8%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638067800052913989%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=sTi07KNaNTZixgWHlQmmTfwBZBQFVRXKUDN5ETjVKhU%3D&reserved=0.

Driessens, O. (2013). Celebrity capital: Redefining celebrity using field theory. Theory
and Society, 42(5), 543–560.

Marshall, P. D. (1997, 2014). Celebrity and power: Fame in contemporary culture. University of Minnesota Press.

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Explaining Isekai – Call for Contributions

December 7, 2022 by

This book anthology will provide a compilation of various themes that are within the broad scope of the Isekai genre. Starting with an introduction and a historic overview of the recently very popular anime and manga genre, the different chapters will deal with specific aspects in the field of film and visual culture, religious studies as well as possible effects on the militarization of societies. Authors can cover the thematic issues of gender representations, violence, the representation of state and religion, the military, and the societal aspect of transgressing to another world. Hence the aim of this book is to be a valuable source for all those who are willing to look behind the scenes of Isekai and other worlds, unraveling the mysteries, impacts, and social functions of this popular genre.

Topics may include but are not limited to:

  • History of Japanese Isekai novels, manga and anime
  • The evolution of Isekai and it’s rise in popularity
  • Gender aspects, Gender Swap, Gender Based Violence, Gender Role Models, Isekai Harem
  • Religious aspects , The image of religion in Isekai
  • Violence and the military in Isekai
  • Unique features in Isekai
  • Societal aspects of Isekai
  • Case studies of a specific Isekai series/novels

Final submissions should be between 5000 and 7000 words (including bibliography and reference). If you have additional suggestions or topics that you would like to contribute, please feel free to email them. As this anthology understands itself as interdisciplinary, proposals from Japanese Studies, Cultural and Film Studies as well as from Popular Culture and the Social Sciences including Humanities are welcomed.

Submission details

Please send your proposal, approximately 200 to 400 words, covering the topic and methodology used before 20th January 2023 to the editor. Please also provide a short academic bio of around 100 words.

Your work should be original and currently not submitted to another publisher or Journal.

Decisions will be communicated in February 2023. Chapter manuscripts are expected to be submitted in August 2023. A detailed guideline (citation, spelling, chapter structure of the book) will be communicated together with the decisions.

Contact Info: 

Proposals and any inquiries should be sent to the editor’s email:

Dr. Cserkits Michael (independent post-doc scholar; University of Vienna/Austria)

a1049671@unet.univie.ac.at (Academic email); and please cc to explainingisekai@gmx.at (Project email)

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CFP: Inked Up Marked Out – An Exploration into Tattooing, Identity and Culture

December 6, 2022 by

Inked Up, Marked Out – An Exploration into Tattooing, Identity and Culture

A collaborative event run by The Centre for the Study of the Body and Material Culture at Royal Holloway, University of London, The University of York and Royal Museums Greenwich

Date:   Friday 12th May 2023 (timings tbc)

Location: National Maritime Museum, Greenwich (in person) / Hybrid (via Zoom)

This one-day symposium is focused on bringing together academic researchers and other interested parties working on, or researching in, the area of tattoos, tattooing practice, tattooed communities and tattoos/wellbeing. It will offer insights on using tattooing as a means of exploring the themes of identity and self-expression through the use of mark making on the body. We invite papers, panels, provocations, creative interventions or stories that explore the theme of ‘tattoo’. Papers may include (but are definitely not limited to!) topics such as:

●      The historical development of tattooing

●      The use of tattoos as devices within literature

●      Tattooing and branding within marginalised groups and within power relationships

●      Representation of tattoos in media and popular culture

●      The relationship between art/photography and tattooing

●      Celebrity and tattooing

●      Perspectives of gender, class and race and the relationship

●      The visual language of tattoos

●      Tattooing as work

●      The material culture of tattooing

●      Tattooing and fandom

●      What it means to be tattooed

Papers providing an interdisciplinary perspective are highly encouraged, as are papers which explore different historical periods and geographical regions. We welcome both traditional and non-traditional conference paper formats, alongside submissions from academics (including postgraduate and early career researchers) and non-academics alike. We are also hoping to hold a public engagement event in the afternoon/evening, which offers the opportunity for more creative interventions into the topic theme. 

For individual contributions, please send an abstract (approx. 200 words) and a short biographical note (approx. 100 words) to the organisers: inkedupmarkedout@gmail.com

Deadline for submissions is Tuesday 28th February 2023.

Please indicate whether you would prefer to present online or in person and if you would like to be considered for a travel bursary. We are hoping to be able to offer a limited number of travel bursaries to support attendance. If you would like to be considered for a travel bursary, please include a short 150-200 word statement including your career stage, how far you are travelling, if you have access to any other funding and why you would like to attend ‘Inked Up, Marked Out’. Priority will be given to those without access to any other funds.

For information or assistance please contact Sarah Weston at inkedupmarkedout@gmail.com

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