The Fan Studies Network Conference 2016

December 9, 2015 by

THE FAN STUDIES NETWORK CONFERENCE 2016

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

FSN2016

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:
http://store.uea.ac.uk/browse/extra_info.asp?compid=1&modid=2&deptid=9&catid=4&prodid=41

And the conference programme can be found here:

FSN 2016 draft Programme v2

Please send any enquires about the conference to: fsnconference@gmail.com

You can join the discussion about the event on Twitter using #FSN2016, or visit http://www.fanstudies.org.

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)

Call for Presentations: Ann Radcliffe Academic Conference at StokerCon 2017

August 17, 2016 by

Call for Presentations:

Ann Radcliffe Academic Conference at StokerCon 2017
Abstract Submission Deadline: December 31, 2016

Ann Radcliffe Academic Conference held in tandem with StokerCon 2017
Conference Dates: April 27 – 30, 2017
Conference Hotel: The Queen Mary, Long Beach, California
Conference Website: http://www.StokerCon2017.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 Second Annual StokerCon, April 27-30, 2017 held on the historic The Queen Mary, moored at Long Beach, California (see: http://www.queenmary.com ).

Horror continues to be a dominating genre within the wider pop-culture arena, and continued academic analysis of horror remains critical. Hence, we are looking for presentations that will discuss completed or works-in-progress that expand the scholarship on various facets of horror that proliferates in:

• Art
• Cinema
• Comics
• Literature
• Music
• 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 December 31, 2016. Responses will be sent out during January, 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 StokerCon2017 award opportunity; see http://horrorscholarships.com/the-scholarship-from-hell/

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 2017 is required to present. StokerCon registration can be obtained by going to http://www.stokercon2017.org. If interested in applying to the Horror Writer’s Association as an academic member, please see http://horror.org/joining-the-hwa/ .

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

Call for papers: “Strong Independent Shipper Who Don’t Need No Canon:” When Fans Reject Canon, 2017 PCA/ACA Annual National Conference, San Diego, USA, 12-15 April 2017

August 5, 2016 by

“Strong Independent Shipper Who Don’t Need No Canon:” When Fans Reject Canon

Popular Culture Association/American Culture Association 2017
San Diego, Wednesday, April 12th—Saturday, April 15th

Although not a new phenomenon in television fandom, the past several years have seen a number of fandoms, particularly slash fandoms, separate themselves from or fully reject their canons – with some fans even calling for shows to be cancelled, i.e., Sterek from Teen Wolf and Clexa from The 100. This trend is at once surprising (doesn’t the nature of fandom mean that fans support their chosen canons?) and predictable, given the transformations and expansions of fandom in the 21st century with the advent of social media and Archive of Our Own. This proposed panel for the PCA/ACA National Conference explores this phenomenon across fandoms, investigating the motivations and effects of fandoms that reject their canon shows.

Potential topics could include, but are not limited to:

In-depth examinations of a specific television fandom that has rejected its canon
How the ever-changing dynamics between fans and producers contributes to this trend and the effects of this for specific fandoms, the canon, and/or transformative fan production
Analyses of fanfiction/fanart that revises and/or “fixes” the canon (“fix-it” fics)
How this trend plays out when the ship is canonical versus non-canonical
Explorations of fandom discourses (Tumblr, Twitter, etc.) that negotiate the rejection of the canon
Fan campaigns for cancellation of shows
How queerphobia towards slash ships plays into this trend, and what this suggests about contemporary media and slash fans, particularly in relation to commonly-accepted Fan Studies theories

Proposals from any theoretical perspective are welcome, as well as proposals that take a more personal, “creative” approach to the topic.

Please email a 250-300 word abstract to panel chair Taylor Boulware at taylorjb@uw.edu by September 15th, 2016, along with a brief bio (approx. 100 words) that includes your institutional affiliation.

Questions about the panel or PCA/ACA can also be sent to taylorjb@uw.edu.

Call for Contributions: A Tumblr Book

August 5, 2016 by

CALL FOR CONTRIBUTIONS: A Tumblr Book

co-editors: Allison McCracken, American Studies, DePaul University; Louisa Stein, Department of Film and Media Culture, Middlebury College; Alexander Cho, University of California Humanities Research Institute

We’re putting together a book to identify ways in which Tumblr has had an important social and industrial impact, both as a digital platform and a cultural forum.­ This volume will be multi-vocal and accessible to a broad audience, representing a variety of Tumblr users and commentators, including scholars, public intellectuals, activists, and fans. We are particularly compelled by Tumblr’s status as a social media platform known for fostering spaces for socially marginalized users, including youth, people of color, queer people, the disabled, and the poor.

This publication will be in English, but we are committed to exploring non-Western perspectives and others beyond the US/UK. We are soliciting contributions that focus on various aspects of the platform, including any combination of:

Tumblr’s affordances and limitations as an interface/platform and as a cultural space
Aesthetic and linguistic traditions on Tumblr, including hashtags, gifs, images, and notes
History and development, including the Yahoo acquisition
Industry presence, marketing practices and goals
Creative production and/or critical analysis
Intersections of race, gender, sexuality, class, age, and ability
Community development and support
Politics and activism (including the “social justice warrior” discourse)
Identity formation and affirmation
Education and mentoring networks
Transnational/transcultural studies
Tumblr within the transmedia landscape
Fan cultures and activities
The centrality of sexually explicit content (“nsfw”), pornography, and pleasure
Teaching, therapy and other professional uses (such as “social media director”)
Ethical concerns
Contribution Guidelines:

We welcome proposals that address any of the aforementioned topics of analysis, and we are looking for work in a range of formats, including traditional academic essays, shorter think pieces, personal testimonies, interviews, video essays, art, GIF essays, and group discussions. This book will combine hard copy and digital components in order to incorporate multimedia contributions. For example, we are interested in community histories and activities (written by individuals or groups), critical discourses and discussion (including specific examples of such), and creative production we can reference in the book and publish digitally (such as fan art). We will use both illustrations and written excerpts with artist and author permission. It is very important to us to feature a variety of voices; please feel free to contact us for help in developing a proposal, especially if you are not familiar with the publication process but have an idea of something you’d like to contribute.

Written work should generally fall between 2,000 and 7,000 words. Inclusion in the book will be based on abstracts of between 300-500 words and, for full consideration, they should be received by September 30, 2016. Contributors can use their tumblr or public names or remain anonymous. Please send this abstract and any questions or concerns you have to atumblrbook@gmail.com. Visit http://a-tmblr-book.tumblr.com for more information.

Call for abstracts, Marketing and Music in an Age of Digital Reproduction, University of Stirling, 18 November 2016

July 28, 2016 by

Call for abstracts
Marketing and Music in an Age of Digital Reproduction

Date: 18th of November 2016
Venue: University of Stirling, Stirling Management Centre
Deadline for abstracts: 1st of October
Please send your abstracts by e-mail to: Gary.Sinclair@stir.ac.uk

About the symposium
Funded by the British Academy and designed to develop contributions for a book to be co-edited by Dr Gary Sinclair, Professor Mike Saren and Professor Douglas Brownlie, this symposium will gather leading academics and practitioners (a maximum of 20-25 participants) to consider the current issues that surround marketing and music research and practice. While the emphasis regarding these issues has been dominated by the economic decline of the industry and the issues therein, such transformations have raised further philosophical questions regarding the nature and role of technological change in shaping markets (Heidegger, 1977; Elias, 2008). Similarly the everyday use of such technologies (Bull, 2006) in spaces such as work and leisure is worthy of further exploration.
Earlier marketing-related studies have focused on the direct impact of music on consumers and employees in retail and service spaces and its use in advancing commercial interests. Beyond this economic imperative, music has provided a context in which to explore broader issues concerning social class, subcultures and resistance (Hall and Jefferson, 1976), identity and the senses (Hesmondhalgh, 2008), gender (Goulding and Saren, 2009), commercial and artistic tension (Bradshaw et al., 2006) and hybridity and immateriality (Brownlie, 2009). These are all areas of research that can be used to generate and address new questions for marketing that are highlighted by the revolution in the technologies of music re/production and consumption. Importantly such research will offer ways in which to understand how music is created, reproduced, stored, accessed and shared. For example, what can we learn from this context about contested issues such as ownership, the sharing economy, how our music consumer data is tracked and used as a means of engagement? What can we add to our knowledge of consumer resistance, transformation and innovation and the strategic use of music by users in everyday life and producers in the marketplace? How well do existing marketing concepts and theories, such as co-creation, consumer engagement and consumer tribes, apply to this new music techno-marketspace?
This symposium should be of relevance to any researcher or practitioner with an interest in the creative industries and the topics outlined above. The inter-disciplinary nature of the topic should also encourage participants from a wide variety of research backgrounds who may also have an interest in contributing to the book.

Format
We are inviting abstracts (maximum of 1 page – i.e. 200-300 words) that address all topics concerning the theme of the symposium, not limited to the issues outlined above, from both academics and practitioners. Foregoing traditional formal presentations, successful abstracts will instead be divided into specific themes and discussed and developed within the working group of the symposium. Participants should also submit a very brief biography too (one paragraph max).

How to submit an abstract
The deadline for submissions is 1st of October. Authors responding to the call will be informed of decisions on their acceptance by the 15th of October at the latest. All submissions should have a cover sheet that includes the following information:
• Title
• Contact person’s name, institutional affiliation, e-mail address
The abstract should be no more than a page. A suggested approach would be to write it as a proposed chapter for the edited book, outlining potential research context, theoretical structure, research objectives or questions and a summary of findings if possible. We also encourage submissions from practitioners.

Registration and Accommodation
Accommodation can be booked at the University’s Management Centre upon request and further information on nearby hotels if required.
Places to this event are free and will include complimentary lunch, refreshments and music. Details regarding registration will be provided closer to the event.
You are welcome to circulate this invitation to colleagues and associates who may also be interested in this topic. Please do not hesitate to get in touch at gary.sinclair@stir.ac.uk should you require further information.
Dr Gary Sinclair

PopMatters CFP: Star Trek’s 50th Anniversary 

July 26, 2016 by

​When Star Trek debuted on NBC on September 8, 1966, there was little indication that its longevity across multiple platforms (films, series, books) would rival that of series such as Doctor Who, or that the series (and its fans) would become fixtures of popular culture, objects of academic study, and an outsized influence on science fiction.

 
This year marks the 50th anniversary of the hit franchise, and celebrations of its cultural impact have been as varied as the show’s own incarnations.
 
To celebrate this momentous anniversary, PopMatters seeks submissions about Star Trek, including: the television series, from The Original Series (TOS) to the highly anticipated 2017 new installment; the films, both the originals and the J.J. Abrams reboot; and ancillary materials such as novelizations, comic books, videogames, etc.
 
We welcome any approach to the franchise, though possible topics may include:
 
Identity: How has Star Trek’s representation of gender, race, and/or sexuality changed over time? In what ways has the franchise been progressive/regressive in matters of representation? Is it possible to read Star Trek queerly?
 
Technology: What role has Star Trek played in spurring technological innovation, especially regarding mid-century space exploration? Has the franchise changed the relationship between pop culture and science?
 
Culture: What role have alien languages (such as Klingon) played in the show and its wider cultural impact? How has Star Trek impacted fashion over the years? How has meme culture, or any other subcultures, appropriated Star Trek?
 
Fandom: What role does the Star Trek fandom play in the production of ancillary content like comics, novelizations, and video games? How do the disputes between the ‘original’ fans and the ‘reboot’ fans affect the Star Trek franchise? What role does unofficial material play in Star Trek ownership?
 
Remakes, Reboots and Continuity: What responsibility, if any, do the reboots have to the original franchise’s fan base? What role do original cast cameos play in maintaining continuity between the early films and the later ones? Does the idea of “canon” or “canonicity” hold any sway given Star Trek’s multiple iterations? How do initial critical reactions compare with modern expectations and experiences?
 
Influence: How has Star Trek influenced science fiction film and television more generally? Does the series have descendants, responses, opposites? What have been the show’s own influences? Are there novels or mythologies that have contributed to the franchise’s main themes?
 
Politics: In what ways does the franchise invite comparisons between its fictional content and potential real-world analogues? Is Star Trek inherently political? Does it encourage a rethinking of the division between political art and entertainment media?
 
Other areas of interest may include: Disability, age, special effects, and comparable productions (Roddenberry and Andromeda, Abrams and Star Wars, for example).
 
Deadline for Features pitches: August 12th, 2016
 
Deadline for final, polished articles: September 9th, 2016
 
For television, please submit your pitches and features to PopMatters’ editor Erin Giannini; for film, please submit your pitches and features to Carl Wilson and Desirae Embree using the PopMatters / Submittable interface: https://popmatters.submittable.com/submit
 
Be sure to identify your article as StarTrek50 in the header.

Send inquiries or questions to: filmsubmissions@popmatters.com

​CFP: Videographic Approaches to World Cinema and Transnational Circulation

July 26, 2016 by

​CFP: Videographic Approaches to World Cinema and Transnational Circulation

Society for Cinema and Media Studies Conference, Chicago, March 22-26, 2017

This panel seeks works of videographic criticism (or papers that address methodological and/or theoretical questions about this [new] form of scholarship) that look beyond the “text itself” to explore broader industrial questions about the processes through which films circulate. The videographic mode opens up rhetorical possibilities often unattainable via traditional modes of scholarship. Although it has been used overwhelmingly for—and is well suited to—close textual analysis, it simultaneously offers intriguing possibilities/challenges for explorations of other aspects of film culture such as exhibition, distribution, audience reception, and so on.

We are especially interested in proposals that address transnational circulation and/or issues related to World Cinema. Possible topics include:

Distribution
Exhibition
Promotion (trailers, posters, etc.) and Branding
Paratexts (including opening titles, DVD packaging, making-of docs, etc.)
Film reviewing/criticism
Film Festivals
Subtitles, Dubbing and Translation
DVDs and streaming platforms
Celebrity/red carpet/awards shows
Audiences/fandom/fan vids
Social media (Youtube, Instagram, Vine, etc.)
Piracy and copyright
 

Please submit a 300-word abstract and brief bio to David Richler <david.richler@carleton.ca> and Michael Talbott  <michael.talbott@castleton.edu> by Friday, August 12.

CFP: Science Fiction Film and Television

July 24, 2016 by

Science Fiction Film and Television is seeking articles for a special
issue on Women & Science Fiction Media, intended to mark the 200th year anniversary of the publication of Mary Shelley’s Frankenstein

Although sf was once stereotyped as a male genre, more recently women’s contributions as authors, fans, editors, and more have become more widely
acknowledged. Central to this new understanding of women’s contributions to sf has been the realization that women have always been a part of the genre, resisting another stereotype that links women’s emergence in the field to the feminist fiction of the 1960s
and 1970s. In recognition of the bicentenary of the publication of Frankenstein (1818) by Mary Shelley, arguably the first sf novel, we seek essays that recognize, interrogate, respond to and celebrate women’s contributions to media sf. We are interested
in reviewing any work that explores this topic, but we are particularly interested in contributions on the following topics:
 

·       Female directors of sf film
and television

·       Female sf showrunners

·       Female scriptwriters in sf

·       Gender and Mary Shelley’s
legacy in sf’s imagination of created beings

·       Frankenstein remakes,
adaptations, reboots and reinventions

·       Gender and casting, and character
arc in media sf 

·       Gender in sf fandom and criticism

Articles should be 7000 to 9000 words in length, including footnotes and bibliography. Submissions (in word or rtf, following MLA style) should be
made via our website at http://mc.manuscriptcentral.com/lup-sfftv
 

Any queries should be directed to the editors, Mark Bould (mark.bould@gmail.com)
Gerry 
Canavan (gerrycanavan@gmail.com) and Sherryl Vint  (sherryl.vint@gmail.com).

The deadline for submissions for this special issue is March 15, 2017.

CFP: “Fanfiction in Medieval Studies: What Do We Mean When We Say ‘fanfiction’?”, Kalamazoo, Michigan, May 11-14, 2017

July 20, 2016 by

Call for Papers
“Fanfiction in Medieval Studies: What Do We Mean When We Say ‘fanfiction’?”
52nd International Congress on Medieval Studies
Kalamazoo, Michigan, May 11-14, 2017

Organizer: Anna Wilson, anna.wilson@utoronto.ca
Deadline Sept 15

Over the past three decades, there has been increasing interest in both Fan Studies and Medieval Studies in the relationship between medieval literary culture and fan fiction (popular, ‘unofficial’, fan-generated creative writing that participates in a pre-existing fictional ‘universe’ and uses its characters). Many Fan Studies scholars have seen fanfiction as the heir to the premodern literary tradition in which authors adapt, rework, reinterpret or otherwise engages with a pre-existing literary work. Fan Studies scholars often refer to the Aeneid’s reworking of Homer, romances in the Alexander or Arthurian traditions, or specific works, such as Robert Henryson’s Testament of Cresseid, as ‘early fan fiction’. Fanfiction scholars have also claimed the medieval ‘active reader’, whose creativity spilled into glosses, commentaries and exegesis, as part of the history of fanfiction writers. Some medievalists have chafed at inaccurate representations of medieval literary culture by Fan Studies scholars, while many others have found that the analogy between the literary activity of fan communities and medieval literary cultures generates valuable and thought-provoking questions that have informed their own research or teaching.

At the first ever session on fanfiction in Medieval Studies at ICMS 2016, papers on such diverse subjects as marginal commentary on The Book of John Mandeville and Chinese fan subtitles of Disney’s Mulan showed the fertility of the idea of fanfiction for reframing the medieval reader, reading communities, affect, and modern medievalisms. However, panellists returned over and over to the question of how to use the term ‘fanfiction’ productively and accurately when discussing medieval practices and texts. Our 2017 proposed session, “What Do We Mean When We Say Fanfiction?” will invite papers that discuss medieval texts and practices with reflection on the following questions: what characterises fanfiction or fandom before the rise of the technologies – the printing press, the photocopier, the internet – without which it is impossible to imagine modern fandom? is it the intensity of readerly affect? the mere fact of rewriting or reinterpretation of a pre-existing text? resemblance to modern fanfiction tropes? the existence of a ‘virtual community’ of readers? How might using the term ‘fanfiction’ occlude or erase important details of the way medieval readers experienced texts? How might it bring to the fore elements previously neglected?

For further reading in Fan Studies, an up-to-date bibliography is maintained on Zotero, affiliated with the journal Transformative Works and Cultures. It can be found here: https://www.zotero.org/groups/11806.
Please submit abstracts of 300 words or less, and a Participation Information Form (available here: http://wmich.edu/medieval/congress/submissions/index.html#PIF) to Anna Wilson (anna.wilson@utoronto.ca).

​CfP: Fantastic Fan Cultures and the Sacred

July 20, 2016 by

​Call for Submissions for an anthology volume: Fantastic Fan Cultures and the Sacred
They ways in which people pursue religion has changed in America and the West. Traditional, institutional religions are in decline, and even among those who claim “None” as their identity, an individualized spirituality of seeking is growing in popularity. As a part of this quest, the sacred often comes in seemingly nonreligious forms. Gary Laderman, a scholar of religion asks in light of this situation:
“So what if the sacred is not only, or even primarily, tied to theology or religious identity labels like more, less, and not religious? We might see how religious practices and commitments emanate from unlikely sources today…”

One of those unlike sources of the sacred is fantastic fan cultures. Science fiction, fantasy, and horror genres are incredibly popular and have become multimillion dollar facets of the entertainment industry. But there is more here than meets the eye. Fantastic fandom has also spawned subcultures that include sacred aspects.
Fantastic Fan Cultures and the Sacred will be an edited anthology that explores the sacred aspects of fantastic fandom.  Its content will be academically informed, but accessible to average readers so that it appeals not only to scholars wanting to learn more about pop culture and religion, but also to average fans who will expand their understanding of their fandom and culture.
Possible topics for this volume include but are not limited to:
•         Buffyverse fandom and other genre “cult fandoms”

•         Collecting and sacred relics – Of special interest is Guillermo del Toro’s and Bleak House, and his connection of this to his unique form of primal spirituality:  “I’m not a collector. I’m a religious man.”

•         Convention participation as religious pilgrimage

•         Cosplay as immersion in sacred narrative and identity

•         Fantasy and science fiction conventions as Transformational Festivals (akin to Burning Man Festival)

•         Horror conventions as worlds “of gods and monsters”

•         Pop culture phrases as sacred wisdom teachings

•         Science fiction, fantasy, and horror as sacred narratives and mythology

•         Star Trek fandom as secular civil religion/spirituality
This volume will be edited by John Morehead. Morehead is the proprietor of TheoFantastique.com  He has contributed to various online and print publications including Cinefantastique Online, the Journal of the Fantastic in the Arts, and Extrapolation. In addition, he is the co-editor of The Undead and Theology, Joss Whedon and Religion, and the editor of The Supernatural Cinema of Guillermo del Toro.
Those interested in being a part of this volume are encouraged to send a 300 word proposal and your curriculum vitae by email. Both should be in MSWord or PDF format. The deadline for submission is September 2, 2016. Materials and questions should be sent to John Morehead at johnwmorehead@msn.com

FSN2016: Daily Fandom Review

July 15, 2016 by

This year’s FSN saw a reporter from The Daily Fandom attending, followed by a write up about the conference. 

Read about the world’s nerdiest academic conference’ here: http://thedailyfandom.com/fan-studies-network-conference/


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