Archive for June, 2012

CFP: Supernatural – Fan Phenomena

June 25, 2012

Now accepting abstracts for consideration for the new Supernatural (Fan Phenomena) title from Intellect Press. This will be part of the series of Fan Phenomena books, which aim to explore and decode the fascination we have with what constitutes an iconic or cultish phenomenon and how a particular person, TV show or film character/film infiltrates its way into the public consciousness.

The Supernatural (Fan Phenomena) title will look at particular examples of Supernatural fan culture and approach the subject in an accessible manner aimed at both fans and those interested in the cultural and social aspects of Supernatural and fan culture. The editors are particularly interested in exploring the rich dynamic that has developed between producers (actors, writers, directors, show runners) and consumers.

We invite papers that address the multiple ways in which the show speaks to its viewers. Topics could include (but are not limited to):

Supernatural as “cult” television
Fan culture dynamics/shipping the show
Supernatural conventions
Gender/Sexuality in Supernatural
Gender/Sexuality in Supernatural fandom
Representations of fan culture in canon/fourth wall breaking
Fan Media/ (vidding, fanfic, fan art)
Cinematography, symbolism and visual dynamics of the show
Economics/Fan collecting
Virtual fan communities/online RPG’s
Influence/ Learning/Teaching through Supernatural
Philosophy/Religion in Supernatural
Construction and representation of family in Supernatural
This book is aimed at both fans and those interested in the cultural and social aspects of Supernatural. The book is intended to be entertaining, informative, and generally jargon-free (or at least jargon-lite).

Please send an abstract (300 words) and CV or resume by 30 Aug 2012. Final chapters of 3000-3500 words will be due 01 Dec 2012. The final book will include ten chapters. Please direct all questions and submissions to Katherine Larsen or Lynn Zubernis


New Issue: Transforma​tive Works and Fan Activism, edited by Henry Jenkins and Sangita Shresthova

June 16, 2012

Transformative Works and Cultures has just published its latest issue at

Transformative Works and Cultures
Vol 10 (2012)
Table of Contents

Up, up, and away! The power and potential of fan activism
       Henry Jenkins,  Sangita Shresthova
Fandom meets activism: Rethinking civic and political participation
       Melissa M. Brough,      Sangita Shresthova

“Cultural acupuncture”: Fan activism and the Harry Potter Alliance
       Henry Jenkins

Experiencing fan activism: Understanding the power of fan activist
organizations through members’ narratives
       Neta Kligler-Vilenchik, Joshua McVeigh-Schultz, Christine Weitbrecht,   Chris

Theorizing a public engagement keystone: Seeing fandom’s integral connection
to civic engagement through the case of the Harry Potter Alliance
       Ashley Hinck

The German federal election of 2009: The challenge of participatory cultures
in political campaigns
       Andreas Jungherr

Wonder Woman for a day: Affect, agency, and Amazons
       Matt Yockey
Fan activism, cybervigilantism, and Othering mechanisms in K-pop fandom
       Sun Jung

Being of service: “X-Files” fans and social engagement
       Bethan Jones

Fan action and political participation on “The Colbert Report”
       Marcus Schulzke

Even a monkey can understand fan activism: Political speech, artistic
expression, and a public of the Japanese dôjin community
       Alex Leavitt,   Andrea Horbinski

“Past the brink of tacit support”: Fan activism and the Whedonverses
       Tanya R. Cochran

Nerdfighters, “Paper Towns,” and heterotopia
       Lili Wilkinson

The absence of fan activism in the queer fandom of Ho Denise Wan See (HOCC)
in Hong Kong
       Cheuk Yi Lin

Too fat to fly: A case study of unsuccessful fan mobilization
       Tom Phillips
Of snowspeeders and Imperial Walkers: Fannish play at the Wisconsin protests
       Jonathan Gray

On the ordinariness of participatory culture
       Aswin Punathambekar

Imagining No-place
       Stephen Duncombe

Fan activism for social mobilization: A critical review of the literature
       Lucy Bennett

Flash activism: How a Bollywood film catalyzed civic justice toward a murder
       Ritesh Mehta
“Fan fiction and copyright: Outside works and intellectual property
protection,” by Aaron Schwabach
       Stacey Marie Lantagne

CFP: Media, Fans, and The Sacred: Neoreligiosity Seeks Institution‏

June 7, 2012

The deadline for submissions for this issue is August 1st, 2012

Kinephanos’ fourth issue aims to explore the relationship between the sacred, the mythological motifs in modern popular fictions, and fandom. Our goal is to understand how the sacred, a pure human emotion, is disembodied from the ‘official’ religious institutions – at least in the Western countries – in order to be reinvested in secular cultural activities like ‘going to see a movie’ or ‘playing a video game’. Eliade wrote: “Movies, a ‘factory of dreams’, are highly inspired by countless mythological motifs, such as the struggle between the Hero and the Monster, battles and initiation ordeals, figures and exemplary patterns” (freely translated from *Le sacré et le profane*, 174). These mythological stories, highly symbolics, exist since ancient times. However, we would like to address the following issue: how the immersive experience in a work of fiction, now facilitated with various technological media forms (movies, videogames, television shows, etc.), changes our own relationship with the emotion of the sacred sparked in people’s life. We propose to identify this emotion with the term “neoreligiosity”. An English scholar of fan culture, Matt Hills, says in this regard: “Neoreligiosity implies that the proliferation of discourses of ‘cult’ within media fandom cannot be read as the ‘return’ of religion in a supposedly secularised culture” (*Fan Culture*, 2002, 119). Indeed, putting side by side the experience of the fan with the religious experience might seem appropriate. Due to a lack of words, needed by fans to describe their own affective experience with their favourite movies, the use of religious terminology seems logical, without calling upon religious institutions structure. Hills quotes Cavicchi: “(…) fans are aware of the parallels between religious devotion and their own devotion. At the very least, the discourse of religious conversion may provide fans with a model for describing the experience of becoming a fan” (2002, 118). This issue of Kinephanos proposes to explore how the sacred, the religiosity, and the neoreligiosity play out in modern popular fictions, and with those who experience it: the fans.

Possible topics include, but are not limited to;

– Sacred and reappropriation (fans creations : fanfics, fanfilms, etc.);
– Social network, sharing interests through Internet;
– Reception, modern and contemporary myths (Star Wars, Matrix, Lord of
the Rings, etc.);
– Cinema and religion, displacement of the sacred;
– Videogames, replayability as a tool of self-exploration (Mass Effect,
Heavy Rain, morality system, etc.);
– Revelation, epiphany, and the fan’s experience;
– Cinema and videogames, mythological motifs between the lines;
vestiges of the sacred;
– Repetition viewing as a ritual, ‘cult fandoms’ and television shows
(Star Trek, Doctor Who, etc.);
– Archetypal figures in the modern mythologies (Order and Chaos,
Lovecrafts’s Great Old Ones, the hero’s journey (monomyth) in Hollywood
movies, etc.).

While Kinephanos privileges publication of thematic issues, we strongly encourage writers to submit articles exceeding the theme which will be
published in each issue.

How to submit?

Abstracts of 1000 words including the title, the topic and the object(s) that will be studied. Please include bibliographical references, your name, email address and your primary field of study.

Send submissions (in French or English) by August 1st, 2012 to: mmarc.joly@umontreal.caail and

Following our approbation sent to you by email (2-3 weeks later after deadline), please send us your completed article by December 1st, 2012.

Editorial rules

Kinephanos is a peer-reviewed Web journal. Each article is evaluated by double-blind peer review. Kinephanos does not retain exclusive rights of published texts. However, material submitted must not have been previously published elsewhere. Future versions of the texts published in other periodicals must reference Kinephanos as its original source.

Production demands

All texts must be written in MLA style. 6,000 words maximum (excluding references but including endnotes) with 1.5 spacing, Times New Roman fonts 12pt, footnotes must be inserted manually in the text as follow : … (1), references must be within the text as follow (Jenkins 2000, 134), a bibliography with all your references, and 5 keywords at the end of the text.
For the editorial guidelines, refer to the section Editorial Guidelines

Kinephanos accepts articles in French and in English

Kinephanos is a bilingual web-based journal. Focusing on questions involving cinema and popular media, Kinephanos encourages interdisciplinary and transdisciplinary research. The journal’s primary interests are movies and popular TV series, video games, emerging technologies and fan cultures. The preferred approaches include cinema studies, communication theories, religion sciences, philosophy, cultural studies and media studies.

CFP: Undead in the West II: They Just Keep Coming (collected essays)

June 6, 2012

Call for Contributors:
Undead in the West II: They Just Keep Coming (collected essays)

Deadline for Abstracts – June 15 2012; Accepted Essays – December 1, 2012.

We are seeking proposals for a chapter focused on fandom for a scholarly volume on Undead Westerns. This chapter might be on a single production or text, such as The Walking Dead, or on fandom across productions, texts, or media (including comics, graphic novels, literature, gaming, film and television) and could take as its focus a wide range of topics, such as fan fiction, fan art, fan editing, cosplay, Undead Western fan culture at HorrorCons, ComicCons, etc..

One of the aims of this volume is to demonstrate the diversity of ways in which zombies, vampires, mummies, and ghosts have lumbered, crept, shambled, and swooped into the Western from other genres. This sub-genre, while largely a post-1990 phenomenon, traces it roots to much deeper hybrid traditions of Westerns and horror or science fiction, and yet, also shows ties to the recent Western renaissance.

This volume, a companion to our forthcoming Undead in the West: Vampires, Zombies, Mummies and Ghosts on the Cinematic Frontier (Scarecrow Press, September 2012), will focus on the blending of the Western genre and the undead in media other than film: comics, graphic novels, gaming, new media, and literature, both adult and juvenile, in addition to its segment on fandom.

Proposals on Undead Western fan culture should be analytical, as well as descriptive, making use of, and situating their discussions in, the growing body of scholarly work on fans and fan culture, but should remain accessible and engaging.

Please send your 500-word abstract to both co-editors, Cindy Miller ( and Bow Van Riper (

Publication timetable:

June 15, 2012 – Deadline for Abstracts
July 15, 2012 – Notification of Acceptance Decisions
Dec. 1, 2012 – Chapter Drafts Due
March 15, 2013 – Chapter Revisions Due
April 15, 2013 – Final Revisions Due
May 1, 2013 – Delivery to Publisher

Acceptance will be contingent upon the contributors’ ability to meet these deadlines, and to deliver professional-quality work.

CFP: Report from the Pop Line: On the Life and Afterlife of Popular

June 5, 2012

International Conference “Report from the Pop Line: On the Life and Afterlife of Popular”: 3-4 December 2012, Lisbon

CECC – The Research Centre for Communication and Culture announces:
3rd Graduate Conference in Culture Studies
December 3-4, 2012
Faculty of Human Sciences – Catholic University of Portugal, Lisbon

Report from the Pop Line: On the Life and Afterlife of Popular

The concept of the popular, or popular culture for that matter, has never ceased to be an ambivalent one. Although it has come to occupy a particular place under the spotlight over the past decades within the broad study of culture, such apparently privileged position has not deprived it of the manifold ambiguities, complexities or misconceptions that have often involved its general understanding.

Since its emergence within the context of the processes of industrialization and the changes they brought about, namely in terms of cultural relations and the development of the capitalist market economy, the concept of popular culture has been, not only utterly rejected by intellectuals and scholars alike, but also denied any possibility of constituting a serious and valid topic for academic debate. Up until the mid twentieth-century, popular culture was often reduced to a poor and simplistic form of entertainment and pleasure, and was even deemed morally and ethically questionable (not to mention aesthetically). However, and particularly after the 1950s, new perspectives would soon alter this perception in very significant ways, especially with the emergence of Cultural Studies and the influence their project had on both sides of the Atlantic. From severe condemnation, popular culture quickly evolved into a period of positive reception and celebration, which resulted from critical work developed inside the academia, but also popular demand outside it.

The concept of the popular was then adopted both as an intrinsic feature, and as topic in its own right of artistic creation developed under the sign of pop. From pop art to pop music, a new understanding of culture has been put forth, building from what is embedded in the ambivalence of the popular and its many possibilities of intersection with new artistic forms of expression.

At the end of the first decade of the twenty-first century, popular culture finds itself at a crossroads: has the concept been drained of its meaning because of its overwhelming popularity? After the euphoria around the popular, what afterlife can be expected from it? Should we still be discussing the popular as opposed to high and folk culture? And where and how do pop art forms intersect with the current notion of the popular?

This conference wishes to address the complexities surrounding the debate around the notions of both pop and the popular and discuss the possibilities of their afterlife.

The event wishes to bring together doctoral students, post-doc researchers and international key scholars from different areas and disciplines, to share research interests and works-in-progress, engage in fresh intellectual discussion and build a community of young scholars.

Papers are welcome on the topics listed below, amongst others:
Popular Culture in Theory
Life and Afterlife of Popular Culture
Popular, Power and Politics
Popular Culture: Globalization, Centres and Peripheries
Material Culture
Popular Arts
Celebrities and Fans: The Dynamics of Popularity
Representation, Mediation and Mediatisation of the Popular
Cultures, Subcultures, Scenes and Tribes
Pop and Popular: Overlap, Dissemblance and Divergence

Confirmed keynote speakers:
John Hutnyk (Goldsmiths College, University of London)
Luísa Leal de Faria (Catholic University of Portugal)

Speakers should be prepared for a 20-minute presentation followed by questions.
Please send a 300-word abstract, as well as a brief biographical note (100 words) to email by July 15th, 2012. Proposals should list paper title, name, institutional affiliation and contact details.
Successful applicants will be notified by July 31st, 2012.

Please note there is a conference registration fee of 30€ due by October 30th. We regret that travel and accommodation funding for conference participants is not available at this time.