Archive for August, 2013

CFP: German Fan Studies Anthology

August 26, 2013

Dear all,

Please see below for a call for papers for a German language fan studies anthology.

Call for Chapters Konsumieren, partizipieren, kreieren:

Beiträge zur Fanforschung im deutschsprachigen Raum

Obwohl bereits in den 1920er Jahren Sherlock-Holmes-Gesellschaften gegründet oder in den 1930er Jahren Science-Fiction-Fanmagazine aufgelegt und vertrieben wurden, nahm die Erfolgsgeschichte der so genannten Media Fandoms erst mit dem Erfolg von Fernseh- serien wie Star Trek und dem Aufkommen des Blockbusterkinos in den späten 1970er Jahren ihren Anfang. Die Genese von Fandoms stellt einen Paradigmenwechsel bezüglich der Auffassung von und der Auseinandersetzung mit dem Rezipienten dar – vom machtlo- sen Konsumenten hin zum aktivierten Partizipierenden. Zwar nicht selten als Freaks und Nerds stigmatisiert, fungieren Fans doch als sichtbarste und mächtigste Rezipientengrup- pe, deren rückwirkender Einfluss auf die Produktion von Medien, Inhalten und Waren gar nicht hoch genug eingeschätzt werden kann.

Aus der Masse der Fans heraus werden immer wieder Medieninhalte kritisch hinterfragt und herausgefordert. Daher können Fandoms die Funktion erfüllen, fundamentale The- men unserer Gesellschaft zu adressieren – durch Fandoms können Fragen nach der Stabi- lität gegenwärtiger Vorstellungen von Identität, Geschlecht oder Sexualität gestellt wer- den; Fandoms können eine Plattform bieten, um kulturelle, historische und politische Er- eignisse wie etwa ein wachsendes Sicherheitsbedürfnis bei gleichzeitiger Panik vor Über- wachung zu debattieren; Fandom kann auf stereotype Darstellungen von Minderheiten in den Medien hinweisen und diese demontieren. Dabei nehmen Fans aktiv am Prozess der Medienproduktion teil, indem sie kreativ eigene Inhalte wie Fanarts, Fanfiction, Videos, Musik oder Spiele generieren und publizieren. Dem Internet kommt in diesem Kontext eine Schlüsselfunktion zu, denn es verbessert die Möglichkeiten der Partizipation, des Austauschs und vereinfacht den Zugang zu Informationen, eröffnet neuen Publika Zugang und offeriert neue gestalterische Ausdrucksmöglichkeiten in der Erschaffung von Fanpro- duktionen. Das Internet leistet somit einen essentiellen Beitrag in der generellen Demo- kratisierung von Medien. Dieser Prozess ist längst nicht abgeschlossen.

Da sich die wissenschaftliche Auseinandersetzung mit Fandom beinah ausschließlich auf den anglo-amerikanischen Raum beschränkt und zeitgleich aufgrund der diffusen Grenzen im Internet eine Ignoranz gegenüber nationalen Spezifika von Fandoms seitens der Fan- forschung auszumachen ist, intendiert dieser Band, einen wesentlichen Baustein zu lie- fern, eben diese eklatanten Mängel zu beheben. Konsumieren, partizipieren, kreieren: Beiträge zur Fanforschung im deutschsprachigen Raum möchte WissenschaftlerInnen zusammenbringen, um über Fandom zu diskutieren und zu reflektieren, wobei nationale Besonderheiten im Fokus der Überlegungen stehen sollen. Da die Fanforschung ein Grenzbereich vieler Forschungsfelder ist, sind für diesen Sammelband Beiträge aus unter- schiedlichen Disziplinen wie Medienwissenschaft, Publizistik, Literaturwissenschaft, Filmwissenschaft, Theaterwissenschaft, Game Studies, Musikwissenschaft, Kunstgeschich- te, Pädagogik, Soziologie, Philosophie und Geschlechterforschung ausdrücklich erwünscht.

Beiträge, die über eine klare Methodik oder Verortung innerhalb des wissenschaftlichen Diskurses verfügen sollten, können – müssen aber nicht – nachfolgenden Themengebieten entstammen:

  • –  Generelle Überlegungen zur Funktion von Fandom in der deutschsprachigen und internationalen Medienlandschaft (z.B. Fandom als Familie, Fandom und Ge- schlecht, Fandom und nationale Identität, Fandom und Konsum, Fandom und Pro- duktionsbedingungen)
  • –  Deutschsprachige Fandoms = deutsche Fandoms? (z.B. Auseinandersetzung mit Fandom in Österreich und der Schweiz)
  • –  Reflektion der Berichterstattung über Fans in deutschsprachigen Medien
  • –  Nationale Fandoms (z.B. deutsche Fußballspieler, Automobilhersteller, Tokio Ho-

    tel, Tatort, Stromberg)

  • –  Cosplay und Conventions im deutschsprachigen Raum
  • –  Spezifisch nationale Organisationsformen (z.B. Trek-Dinner, Stammtische)
  • –  Game Fandoms (Analyse nationaler Spezifika in Game Fandoms wie z.B. LARP, Pen & Paper Rollenspielen, LAN-Parties oder Sammelkartenspielen)
  • –  Fanfiction (z.B. Analyse nationaler Eigenheiten innerhalb internationaler Fandoms, Plattformen oder Texte als Fallstudien im internationalen Vergleich, Rolle von Übersetzungen und Scanlations)
  • –  Fanart (z.B. Analyse bestimmter Techniken, Ästhetiken und Distributionswege im internationalen Vergleich)
  • –  Vidding (z.B. Diskussion deutschsprachiger Fanvideos wie Lord of the Weed, Sinn- los im Weltraum, Harry Potter und der geheime Pornokeller oder Vidding-Projekte mit regionalen Dialekten)
  • –  Musik (z.B. deutsche Musikfandoms und Subkulturen, deutsches Filking, Fandom und Volksmusiktradition)

Die Artikel sollten eine Länge von 4.000 bis 5.000 Worten (ohne Quellenverzeichnis) nicht überschreiten. Als Format sind für alle Texte die MLA-Style-Guidelines verbindlich. Aus Gründen der wissenschaftlichen Qualitätssicherung werden alle Einreichungen einem Double-Blind-Review-Verfahren unterzogen.

Einreichungen als Emailanhang im MS Word-Format zusammen mit einer Kurzbiografie bitte bis spätestens 1. Dezember 2013 an fandom@medienkreativitaet.de

 

Advertisements

Fan Studies Network 2013 Symposium – registration now open

August 23, 2013

The deadline for submissions to the Fan Studies Network Symposium is fast approaching. We invite abstracts by *FRIDAY 23rd AUGUST* for both individual 20 minute papers and expressions of interest for those wishing to participate in ‘speed geeking’ sessions. Proposals may address any aspect of fandom or fan studies. More information is available here: http://www.uea.ac.uk/politics-international-media/events/fan-studies-network-symposium

Registration for the event is also now open via our Eventbrite site: http://fanstudiesnetwork-es2.eventbrite.co.uk/

We are pleased to offer the low prices of £16.75 for students/unwaged and £37.75 for waged delegates.

For enquires/abstracts please contact fsnconference@gmail.com

CFP: Foundation: The International Review of Science Fiction, special issue on Science Fiction and Videogames

August 18, 2013

CFP: Foundation: The International Review of Science Fiction, special issue on Science Fiction and Videogames

For over half a century—from the spaceship duels of Spacewar! and the
attacking waves of the Space Invaders, through to the explorations of
the Metroid series and the complex environments of the Bioshock
games—electronic gaming has made extensive use of science fictional
themes and settings. Likewise, science fiction, in books like Ender’s
Game, films like The Last Starfighter, and TV shows like Defiance, has
often explored tropes of videogaming within its created worlds. Both
regularly, even obsessively, address questions of identity,
embodiment, and representation, as well as the constructions and
constraints of culture; both are also constituted in the complex and
often fraught relations between fan groups and society.

Foundation (http://www.sf-foundation.org) seeks papers for a special issue on science fiction and
electronic gaming that will delineate and explore zones of concern
shared by these two rapidly developing bodies of criticism and theory.
What might their intersections reveal about the gaps, conflicts, and
kinships of our present cultural moment? How does the history of
science fiction criticism speak to game studies, and vice versa? How
might the modes of play we develop in electronic realms translate to
our methods of critical reading or viewing? What SF works, canonical
or otherwise, might be read differently when seen as anticipating or
responding to digital gaming?

All topics and methodologies are welcome, potentially including (but
not limited to) genre theory, fandom, constructions and
representations of cultural identities, physical and intellectual
disability, platform studies and media archaeology, software and
critical code studies, print culture, and readings of individual
titles or series.

Send submissions of up to 8,000 words (including endnotes) by 15 April
2014 to journaleditor@sf-foundation.org, attaching the file as
electronic text in either .rtf or .doc format. For questions about
formatting, see the Foundation style guide at sf-foundation.org;
direct all other inquiries to Andrew Ferguson at af3pj@virginia.edu.

CFP: Popular Culture Association conference, Chicago, 16-19 April 2014

August 12, 2013

POPULAR CULTURE ASSOCIATION/FAN CULTURE CFP

National conference, Chicago, 16-19 April 2014

http://pcaaca.org

Proposals for both panels and individual papers are now being accepted for all aspects of Fan Culture and Theory, including, but not limited to, the following areas:

•Fan Fiction

•Fan/Creator interaction

•Race, Gender and Sexuality in Fandom

•Music Fandom

•Reality Television Fandom

•The Internet and Fandom

•Fan Communities

•Fan Media Production – icons, fanvids,  fan art and filk.

•Fans as Critics

•Fan videos

•Fan crafts

•Fan pilgrimages

•Sports Fandom

•Cosplay

Please submit abstracts of 100-250 words with relevant audio/visual requests online.  Click here (http://pcaaca.org/national-conference-2/instructions-for-the-submission-database/) for instructions for doing so.

All Proposals & Abstracts Must Be Submitted Through The PCA Database. 
Please submit a proposal to only one area at a time.

Exceptions and rules

Panel proposals should include one abstract of 200 words describing the panel,
accompanied by the abstracts (250 words) of the individual papers that comprise the panel.  Graduate students are encouraged to submit proposals.

Please send all inquires to:

Katherine Larsen
The George Washington University
Ames Hall 223
2100 Foxhall Road NW
Washington D.C. 20007
(202) 242 5090
klarsen@gwu.edu

 

CFP: The Adventures of Tintin symposium, London, 10 January 2014

August 12, 2013

CFP: The Adventures of Tintin (symposium)

Abstracts are now being accepted for a symposium on “The Adventures of Tintin” at University College London on 10 January 2014 in celebration of Tintin’s 85th birthday. Proposed essay topics should creatively engage with the critical, philosophical, cultural, or social issues explored in the Tintin universe. All presentations will be considered for publication in a book of proceedings.

Possible topics include, but are not limited to:

  • Tintin and Hergé
  • Tintin and comic book history
  • Tintin and detective fiction
  • Tintin and the adventure story
  • Tintin in translation
  • Censorship of Tintin
  • Tintin’s spinoffs
  • Tintin in adaptations
  • Tintin in films
  • Tintin fan culture
  • Tintin and geography
  • Tintin and travel
  • Tintin as cultural phenomenon
  • Travel and colonialism
  • Treatment of race in Tintin
  • Snowy as sidekick
  • Animal welfare
  • EcoTintin
  • Tintin and gender
  • Tintin and masculinity; homosocial relations
  • Tintin in criticism

Submission Guidelines:

  1. Submission deadline for abstracts (400 words) and a short biography (150 words) for your 20-minute presentation: 31 October 2013.
  2. Please do not send documents as attachments.

Kindly submit abstracts to the organizers at tintinat85@outlook.com

CFP: K-Pop and K-Drama Fandoms, Journal of Fandom Studies special issue

August 9, 2013

CFP: K-POP AND K-DRAMA FANDOMS

Special issue of Journal of Fandom Studies 
Guest Editors: Crystal S. Anderson and Doobo Shim

This special issue responds to the well-established and global subculture of fans of Korean popular music (K-pop) and Korean television drama (K-drama). K-pop and K-drama are the products of Hallyu, a cultural movement from Korea directed towards the global stage that originated in the late 1990s.  Recent global successes of Korean artists such as Psy, Girls Generation, 2NE1 and BigBang as well as K-drama actors such as Lee Min Ho and Jang Geun Suk represent only a portion of the vibrant and diverse fandom.  This special issue seeks to examine the uniqueness of K-pop and K-drama fandoms and their contribution to global fandom scholarship. 
K-pop and K-drama represent hybridized modes of cultural production aimed at global audiences that emerged from Korea in the 1990s. Initially, K-pop fandoms were centered in Korea and locales in East Asia.  As a result of technological advances in digital music and social media such as Twitter and YouTube, the fandom has grown to more international locations. Similarly, K-drama saw popularity in Korea and East Asia, and increased international access through online streaming sites and satellite options contributed to the rise of more global K-drama fandoms, with some variants.  Unlike the U.S. television drama production, K-drama fans participate in the creation of the show through feedback to the drama series up to the point that the writers have to change their story lines.  This is a very unique “strength” of K-drama in that this practice allows continuous communication between producers and audiences. Overwhelmingly female, the fandoms for both K-drama and K-pop are poised to provide gendered renditions of cultural production and consumption. The possible polysemy embedded in Hallyu cultural products may produce a dynamically interesting consumption according to a different specificity and locality. 
The spread of K-pop and K-drama fandoms has spurred scholarship on the subject.  While K-pop and its fandom represent one of the most visible aspects of Hallyu, they receive the least critical attention from academia. Two groundbreaking collections, East Asian Popular Culture: Analyzing the Korean Wave (2008), and Hallyu: Influence of Korean Popular Culture in Asia and Beyond (2011) do not feature any submissions on K-pop.  Studies of K-drama fandom are more plentiful, but tend to focus on the attitudes of fans in East Asia.  Moreover, the theoretical approaches to the fandoms tend to revolve around notions of hybridity and globalization that de-emphasize the multiple cultures in play.  For example, the coverage of fans in Korean Masculinities and Transcultural Consumption: Yonsama, Rain, Oldboy, K-Pop Idols (2010) is largely limited to the cases in Southeast Asia.

 
In response to this void, this special issue solicits innovative examinations of all aspects of K-pop and K-drama fandoms. Papers on the topic could relate to specific ideas given below but are not restricted to:
– New critical and theoretical approaches to the study of K-pop and K-drama fandoms or reimagined critical interventions associated with theories of hybridity, cultural proximity and globalization·    
-Comparative approaches to the global spread of K-pop and K-drama fandoms, especially comparisons between fandoms based in East Asia and other parts of the world, such as the Middle East, Europe, Latin America and the United States·    
-Interplay between fans and artists/actors·    
-Fan activities and cultural production, including fan art, blogs, mashup videos, cover dance groups·    
-Fan discourse and commentary, such as comments on social media and forums·    
-Economic impact of fan activity, including impact on sales of music and merchandise as well as advertising revenue·    
-Fan philanthropy·    
-Fan backlash, including the formation of anti-fan clubs, anti-fan movements, negative/erroneous portrayal of fans·    
-Analysis of the demographic of K-pop and K-drama fandom, particularly with attention to age, nationality and race/ethnicity·    
-In-depth examination of specific fandoms as well as fandoms in specific countries

Details of the publication are on the Intellect website: http://www.intellectbooks.co.uk/journals/view-Journal,id=213/view,page=0/
Deadline for submission of Abstracts: 31 October 2013.

Please submit an Abstract (200 words) and keywords (five) and profile of author/s (50 words)

Deadline for submission of Full Papers: 15 January 2014.Please submit a full paper (6,000-9,000 words, including references and tables).
Please send Abstracts and Full Papers to: Dr. Crystal S. Anderson (canderson14@elon.edu).
For any further queries, please write to: Dr. Crystal S. Anderson (canderson14@elon.edu), Associate Professor, Dept of English, Elon University
OR
Dr. Doobo Shim (mediapoet@gmail.com), Professor, Dept of Media & Communication, Sungshin Women’s University

CFP: Doctor Who/Torchwood, SW Popular Culture and American Culture Association conference, New Mexico, 19-22 February 2014

August 8, 2013

The Science Fiction & Fantasy Area of the Southwest Popular/American Culture Association invites paper or panel proposals on

 

CFP: Doctor Who and/or Torchwood

 

at the 35th annual meeting of the Southwest Popular/American Culture Association in Albuquerque, New Mexico.

 

February 19-22, 2014 

Any and all topics will be considered, although we especially encourage proposals on:

  • genre (comedy, horror, mystery, science fiction, fantasy, etc.)
  • reception/transmission of either series internationally (past or present)
  • Doctor Who as brand
  • regeneration(s) of the series
  • gender
  • Use/misuse of technology
  • Perspectives on the 50th anniversary of Doctor Who
  • Queer readings and/or presentations of LGBQT characters
  • auteur-ship
  • fandom and fanwork
  • Intersections of Doctor Who and/or Torchwood with this year’s theme “Yesterday, Today, and Tomorrow”

 

                                      Proposals Due: November 1, 2013 

Submit 250-word paper or full panel (title & 250-wd abstract for each panelist) proposals at: http://conference2014.southwestpca.org

Database opens July 1

 Submit in category Science Fiction & Fantasy—Doctor Who

 Questions: Erin Giannini (egiannini37@gmail.com) 

For more details on the conference, please visit the Southwest Popular/American Culture Association: http://southwestpca.org or follow us on Facebook & Twitter at www.facebook.com/facebook.com/southwestsff  or @southwestsff

More about the SF&F Area:

With an average of 70+ presenters annually, The Science Fiction and Fantasy Area of the Southwest and Texas Popular Culture and American Culture Association is one of the most dynamic and well attended areas at the conference. Numerous book and article publications have originated from our panels.

 The Area was founded in 1995 by Prof. Richard Tuerk of the Texas A&M University-Commerce (formerly East Texas State University) and author of Oz in Perspective (McFarland, 2007). The Area is currently chaired by Ximena Gallardo C. of the City University of New York-LaGuardia and co-author of Alien Woman: The Making of Lt. Ellen Ripley (Continuum: 2004); Rikk Mulligan of Longwood University, author of “Zombie Apocalypse: Plague and the End of the World in Popular Culture” (End of Days, McFarland 2009); Tamy Burnett of the University of Nebraska-Lincoln, co-editor of The Literary Angel (McFarland, 2010); Brian Cowlishaw of Northeastern State University, author of “No Future Shock Here: The Jetsons, Happy Tech, and the Patriarchy” (The Galaxy is Rated G, McFarland: 2011); Erin Giannini, independent scholar, who has presented and published work on series such as Dollhouse, Supernatural, and Mystery Science Theater 3000; and Susan Fanetti, Associate Professor at California State University Sacramento.

 

Call for Papers – Participations: International Journal of Audience Research: “Masters of the Universe: World-Building and World-Exploring”

August 7, 2013

Call for Papers – Participations: International Journal of Audience Research:  “Masters of the Universe: World-Building and World-Exploring”

 Editors: William Proctor (Centre for Research in Media & Cultural Studies, University of Sunderland, UK) & Dan-Hassler Forest (Amsterdam School of Cultural Analysis, University of Amsterdam).

The publication of Mark J.P Wolf’s Building Imaginary Worlds: The History and Theory of Subcreation (2012) is a landmark event in academia. ‘Imaginary worlds,’ writes Wolf, ‘rank among the most elaborate mediated entities [and] have been largely overlooked in Media Studies despite a history spanning three millennia’ (ibid:2). Indeed, the study of world-building is an important field of enquiry given the wealth of people who explore these ‘geographies of the imagination’ as a fundamental feature of their daily lives (Saler, 2012:4). As New York Times film critic, A.O Scott observes, ‘today there are hundreds of thousands of people, perhaps millions of people whose grasp of the history, politics and mythological traditions of entirely imaginative places could surely qualify them for an advanced degree’ (2002). It is important therefore to recognize that popular entertainment ‘is moving more and more in the direction of subcreational world-building’ and thus warrants close scrutiny and scholarly examination (Wolf, 2012: 13).

In literary studies, Michael Saler’s As If: Modern Enchantment and the Literary Prehistory of Virtual Reality (Oxford, 2012) explores the world-building adventures of J.R.R Tolkien, Arthur Conan-Doyle and H.P Lovecraft. Taken alongside Wolf’s work, the two studies complement one another and open up a wider debate about world-building and narrative transmedia in important directions.

While Wolf and Sader raise many important issues and analyses, this call for papers seeks to bring the audience into the conversation to explore world-building from theirperspective: what is important to the reader? Is it true, as Wolf and Sader both argue, that the story-world must make sense? How do audiences traverse the fictional realm of imaginary worlds in practice? Does world-consistency matter, and if so, for what reasons? Is a sense of saturation ‘the goal,’ as Wolf puts it, and to what extent is this even possible? Do audiences ‘rummage for micro-data,’ as David Bordwell argues, and if so, what do they search for? What is the main rationale for their engagement and in what ways do they engage? How do audiences negotiate ‘counter-factual’ texts that can destabilize the ontology of a story-system?

In short, this special section will focus above all on questions that are crucially important for the world-explorers themselves?

This special section of ‘Participations: Journal of International Audience Research’ invites scholars to contribute to the burgeoning field of world-building. Firstly, the work must engage with audiences as opposed to textual analyses while, secondly, providing an original contribution to the field. Speculative accounts about audience engagement are not the aim here – what we are interested in here is a mapping of specific communities and their rich relationships with world-building. How this may be measured is of interest here, too, but the speculation is to be avoided. Materials in circulation, as in web forums and the like, can be utilized, as can audience research conducted by the researcher. If building an argument about how audiences might respond, researchers should consider how to test and verify their claims.

Subjects may vary considerably – this list is not exhaustive and the editors welcome proposals that fit within the widest possible purview of this project. Similarly, this should not indicate any single medium but any medium (or combination thereof) that engages with story-worlds and world-building: examples include prose fiction, comic books, TV, film, theme parks, and any other that meets the requirements of this special section.

 

Audiences and Imaginary Worlds.

Saturation, Immersion and Absorption.

World-Building and World-Dwelling.

Consistency, Cohesion and Causality.

Seriality.

Narrative Braiding

Proposals will be considered depending upon their validity for audience studies. There are many imaginary world systems that exist in a wider range of media windows including (but not limited to):

The World of Prometheus and Alien

Game of ThronesA Song of Ice and Fire

Stephen King’s The Dark Tower

The Novels of Michael Moorcock

Dr. Who

Blade Runner

The Whedon-Verse

Pacific Rim

Star Trek

Star Wars

Twilight

Frank L. Baum and Oz

True Blood

Buffy the Vampire Slayer

Comic Book Universes (DC/ Marvel/ Image/ IDW)

The Marvel Cinematic Universe

Harry Potter

China Miéville’s Bas-Lag

While Wolf and Sader (2012), among others, do not count soap operas within the imaginary world schemata due to its similarity with the Primary World (that is, the ‘real world’), we believe that this does not take into account the audience members who visit ‘hyperreal’ settings such as The Rovers Return pub that is an iconic feature of Coronation Street. In 1981, Christine Geraghty claimed that viewers of Coronation Street demand consistency from the text even going so far to employ a programme historian to ensure facts are adhered to. This practice mirrors the so-called ‘series bibles’ of imaginary worlds from Star Trek to Star Wars which have served as templates for many other organized world-building exercises. Thus, all fictional worlds are imaginary worlds. This will hopefully attract a larger range of projects than is commonly the case. The following may be considered although these lists are not exhaustive but offer an example of the range of story-systems available for study:

Coronation Street

Eastenders

The Killing

The Sopranos

The Wire

Sex and the City

Dexter

Breaking Bad

Charles Dickens

William Shakespeare

All proposals will be considered provided they meet the purview of this special issue.

As an online journal Participations does not work with strict word-limits, but instead encourages authors to show their materials, methods of investigation and analysis and theoretical frames explicitly, for the readers’ benefit, without being unnecessarily prolix.  The Journal also does not insist on one style of formatting for references and bibliography, but asks authors to ensure that they are internally clear, consistent and complete.

Abstracts of 350 words are to be forwarded to both William Proctor (billyproctor@hotmail.co.uk) and Dan Hassler-Forest (D.A.Hassler-forest@uva.nl) by October 31st, 2013. For any queries or suggestions, please contact both parties also. Successful scholars will be expected to submit first drafts by February 1st 2014. The special section is planned for publication in November 2014.

CFP: Stardom and Fandom, SW Popular Culture and American Culture Association conference, New Mexico, 19-22 February 2014

August 6, 2013

CFP: Stardom and Fandom, SW PACA (11/1/13; 2/19-22/14)

The Southwest Popular Culture and American Culture Association (http://southwestpca.org) invites paper or panel proposals on any aspect of stardom or fandom for their annual Conference, February 19 – 22, 2014 at the Hyatt Regency in beautiful Albuquerque, New Mexico. This is a great conference for fan studies scholars, grad students, and researchers from other disciplines doing related research to share their thoughts and inspire each other. All topics will be considered, although we especially encourage proposals on:

The reciprocal relationship between stars and fans

Impact of celebrity and fame on identity construction, reconstruction and sense of self

The impact of social media on celebrity/fan interaction

Children and stardom (Little Rascals to Toddlers and Tiaras)

Celebrity/fame addiction as cultural change

The intersection of stardom and fandom in virtual and physical spaces

Celebrity and the construction of persona

Pedagogical approaches to teaching stardom and fandom

Straddling the stardom/fandom line: big name fans, bloggers and aca-fans

Anti-fans and ‘haters’

Fan shame

Gendered constructions of stars and fans

Studies of individual celebrities and their fans

Studies focused on specific fandoms

Historical studies of fandom and fan/celebrity interaction

 

If you have an idea that is not listed, please suggest the new topic. We encourage submissions from multiple perspectives and disciplines. Come join us – we always have a blast!

 

Submit 250 word paper proposals – or proposals for full panels – to: http://conference2014.southwestpca.org/ . Choose the area “Special Topics – Stardom and Fandom.”
Proposal submission deadline: November 1, 2013.

 

Questions? Contact Lynn Zubernis, lzubernis@wcupa.edu