Archive for January, 2014

Call for Papers: Queer Fan Cultures in Greater China, edited collection

January 28, 2014

Queer Fan Cultures in Greater China, edited collection

Editors:
Maud Lavin, School of the Art Institute of Chicago;
Ling Yang, Xiamen University;
Jing Zhao, The Chinese University of Hong Kong

Contact Email: queerfandom2014@yahoo.com

Timeline:
Proposal due May 30, 2014 (1000-1500 words);
Acceptance Notification by July 30, 2014;
Final Submission due Dec 30, 2014 (5000-8500 words)

CALL:
Queer fandom nowadays has become a global phenomenon. It helps exemplify the complexities, anxieties, conflicts, and negotiations within and surrounding the collision of global, national, and regional cultures. Some of its subdivided fields, such as Western slash and Japanese Boys’ Love (BL), have received significant academic attention since 1980s (e.g., Aoyama, 1988; Bacon-Smith 1992; Buckley 1991; Fujimoto 1991; Jenkins 1992; Kinsella 1998; Matsui 1993; Penley 1992; Russ 1985). Especially in recent years, the distributions and interpretations of BL across language and geographical boundaries, the distinctiveness and similarities between BL and slash genres, the pornographic aspect of BL, slash, and other forms of queer fannish productions have been emphasized in a body of scholarly literature worldwide (e.g., Brienza 2009; Chao 2013; Galbraith 2011; Glasspool 2013; Isaksson 2009; Keft-Kennedy 2008; Levi 2009; Levi & McHarry & Pagliassotti 2010; Martin 2012; McLelland 2000; Meyer 2013; Mizoguchi 2008; Nagaike 2003; Nagaike 2009; Pagliassotti 2009; Penley 1991; Perper & Cornog 2002; Sabucco 2003; Shamoon 2012; Silvio 2011; Welker 2006; Wood 2006; Wood 2013; Zanghellini 2009).

Meanwhile, the blooming of Chinese queer fandoms in the past two decades has also offered rich sites of queer representations of gender and sexuality. Greatly shaped by Chinese traditional romantic literature, Japanese BL, and Western slash cultures (Feng 2009; Xu & Yang 2013; Yang & Bao 2012; Zheng 2009), contemporary Chinese queer fan cultures have been enjoying a growing diversity. The objects Chinese fans queerly fantasize about are by no means limited to local Chinese celebrities, nor to self-identified queer celebrities. The proliferation of cross-regional, cross-cultural, and transnational Chinese queer fandoms dedicated to androgynous celebrities, queer media, and popular culture is also hard to ignore. Yet, research explicating the intricacies of gender identities, sexual desires, regional differences, national belongings, and global queer cultural convergence and hybridization within Chinese queer fandoms is still far from adequate.

To fill this research gap, this edited collection stresses the struggles, potentials, and dynamics of queerness unveiled within a variety of the fannish contexts of Greater China. Bearing on the intersecting of global cultures studies, post-colonial studies, modern queer theory, and media audience research, we view queerness as a nonstraight spectatorial position (Doty 1993; Kohnen 2008) and/or a productive space (Munoz 1999). These expansive interests have also renegotiated certain online relations along homosocial lines, at times blurring, at times contesting boundaries between fans who define themselves as queers and those who do not. Accordingly, we aim to examine Chinese queer fandom as a grassroots cultural palimpsest that reconfigure, contest against, trespass, and/or overturn the dominant scripts of identity and subjectivity.

We seek chapter contributions that elaborate the cultural specificities, significances, transformativity, hybridity, historicity, and futurity epitomized by Chinese queer fan cultures. We are especially keen to receive manuscripts that consider the queer dimensions of gender, sexuality, desire, and fantasy from a wide range of Chinese temporal and geographical settings. We also very welcome submissions that employ interdisciplinary and/or comparative approaches.

Manuscript topics may include but are not limited to:
—Genders and Sexualities in Chinese Boys’ Love/Slash and Girls’ Love/Femslash Fandoms
—Queerness and Performativity in Chinese Fandoms Dedicated to Anime and Cosplay/Role-Play/Life-Play
—Chinese Queer Readings of Media, Popular Culture, and Celebrities Worldwide
—Chinese Queer Fans’ Gender- and Sexuality-Related Identities, Agencies, Subjectivities, Fantasies, Desires, Connections, and Relationships within Fan Communities
—Racial Representation, Distant Cultural Construction, and Non-Chinese Imagination in Chinese Queer Fan Cultures
—The Interrelationship and Interaction between Chinese Queer Fandoms, Queer Organizations, Queer Movements, Queer Politics, and Queer Grassroots Publics and Communities
—Queer, Pornographic Representations of Male/Female Sexualities in Chinese Queer Fandoms
—The Transgressiveness, Multivalence, and Constructedness of Masculinities and Femininities in Chinese Fan-Made Queer Productions
—Violence, Abuse, and Aggressiveness in Chinese Fan-Made Queer Productions
—The Interplay of the Boom of Boys’ Love/Slash and/or Girls’ Love/Femslash Industries, Fans’ Passions for Queering and Queerness, and the Commercialization of and Censorship on Queer Media in Greater China
—Imaginaries Related to Transgender Issues that Intersect with Chinese Queer Fan Practices
—Rethinkings of Fandom and Homosociality Related to Broadly Defined Chinese Queer Fan Practices

Note:
We are only interested in academic analytic papers grounded in certain critical/theoretical perspectives that have NOT been published elsewhere.

To submit chapter proposal submissions for consideration, please send a 1000- to 1500-word abstract (outlining the topic, methods, and fan-related materials used) with working bibliography and a CV to the book editors at queerfandom2014@yahoo.com by May 30th, 2014.

Acceptance will be handled on a rolling basis till the end of July, 2014. Early submissions are strongly encouraged.

Completed, well-polished papers from accepted contributors should run between 5,000 to 8,500 words and are expected before the end of December, 2014.

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Call For Papers: New Directions in Sherlock, Sherlock Holmes: Past and Present, April 11, 2014, UCL, London, UK

January 28, 2014

CFP: New Directions in Sherlock
Sherlock Holmes: Past and Present
Friday, April 11, 2014 from 10:00 AM to 7:00 PM (BST)
Department of English, UCL

Heralded by The Telegraph as a ‘global phenomenon,’ the BBC Sherlock is now one of the most commercially and critically successful series of all time. This one-day symposium focuses on the series to look back at its roots in Conan Doyle’s stories, to situate it in light of contemporaneous adaptations and pastiches, and to examine its treatment of a range of issues including race, gender, terrorism, and international relations. The fruits of this symposium will lead to the publication of a special journal issue dedicated to the series.
In this symposium, we will screen His Last Vow, attend presentations, and discuss Sherlock Holmes, the BBC Sherlock, and aspects of neo-Victorian detective writing. Please email your 200-word abstract for a 20-minute presentation and 50-word biography to ue_tom@hotmail.com by February 28.

This conference is free and open to the public. Please register here:http://www.eventbrite.co.uk/e/new-directions-in-sherlock-tickets-6900426361?aff=eorg.

Keynote:
Dr Benjamin Poore
Department of Theatre, Film and Television
University of York

Facebook:https://www.facebook.com/SherlockHolmesPastAndPresent
Twitter: @SHolmesPastPres

Possible topics may include but are not limited to:
Beginnings and endings
Sherlock’s filmic structure
Neo-Victorian Sherlock
Neo-Gothic Sherlock
Sherlock and style
Reason and romance
Sherlock’s ‘scientific method’
Sherlock and gender
Reputation and blackmail
Sherlock and Elementary
Sherlock and House
Home and the nation
Sherlock and the world
Sherlock and race
Critical responses to Sherlock
Sherlock’s fandom
Fandom and criticism
Sherlock’s locations
Sherlock’s merchandise

New special issue of Digital Icons journal on ‘Digital Fandom and Media Convergence’

January 23, 2014

Digital Icons, a journal of studies in Russian, Eurasian and Central European new media has just published an interesting special issue on Digital Fandom and Media Convergence.

The issue can be read online here:

http://www.digitalicons.org/issue10/

and the table of contents is:

10.0 Editorial | Sudha Rajagopalan & Ksenia Prasolova (in English)

10.1 Is There Room for the Fan? | Sudha Rajagopalan (in English)

10.2 Sex, Love and Family in Harry Potter Fan Fiction | Natalia Samutina (in English)

10.3 Russian Amateur Critic Reviews | Sergey Davydov and Maria Davydova (in English)

10.4 Internet-Memes as a Factor Shaping Communities | Darya Radchenko (in Russian)

 

Digital Memoirs

10.5.1 Fandom: An Exercise in Self-Reflexivity | A LiveJournal Community (in Russian)

10.5.2 On X-Factor Online | Alexander Kleimenov (in English)

Reports and Commentaries

10.6.1 The Problem of Authorship in Fan Creativity | Ekaterina Gichko (in Russian)

10.6.2 The Community of Travellers | Vera Rukomoinikova (in Russian)

Book Reviews

10.7.1 Mobile Interfaces in Public Spaces: Locational Privacy, Control, and Urban Sociability, by Adriana de Souza e Silva and Jordan Frith, 2012

Reviewed by Evelyn Wan. (in English)

10.7.2 Spreadable Media: Creating Value and Meaning in a Networked Culture (Postmillennial Pop), by Henry Jenkins, Sam Ford, and Joshua Green, 2013.

Reviewed by Ksenia Prasolova. (in English)

Call for Papers: Fan Phenomena: Rocky Horror Picture Show

January 23, 2014

Fan Phenomena: Rocky Horror Picture Show

Editor, Marisa C. Hayes

Now accepting abstracts to be considered for a new book Fan Phenomena: The Rocky Horror Picture Show from Intellect Press. This title will be part of the latest 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 infiltrates its way into the public consciousness.

The Rocky Horror Picture Show (Fan Phenomena) title will examine the film’s fan culture, its essential role in creating the midnight movie, audience participation, and cult film cultures, as well as other areas of influence and social impact. Subjects are to be addressed in a thoughtful and accessible manner aimed at both fans and those interested in the cultural and social aspects of The Rocky Horror Picture Show.

Topics of particular interest include, but are not limited to:

– the film’s role in creating a culture of the midnight movie, audience participation, and the cult film circuit

-influence of developing the pastiche tribute film (for its homage to B-Grade Sci Fi, Hammer horror, early 20th century musicals, pulp, comics, etc.)

-queer theory

-sexual liberation

-glam rock aesthetics/drag style

-hedonism

-language and linguistics explorations pertaining to the creative use of dialogue and audience call and response during the film

-diverse aspects of fan art, fan tributes, and fan culture

-economics of fan culture, including creation of low budget cult classic and/or how a cult subject becomes a franchise (sequels, stage revivals, etc.)

Ten essays will be selected and published within the following broad section categories: Fashion, Fan Media, Language, Economics, Virtual, Influence, Philosophies, Character/Characterization.

Abstracts should be 300 words long. Please include a CV or resume with your abstract. Abstracts due March 3, 2014. Final chapters of 3,000-3,500 words will be due July 15, 2014. Please direct all questions and submissions to editor Marisa Hayes: marisa@videodansebourgogne.com

 

Call for Papers: Twitter, Celebrity and online public identity, Celebrity Studies Journal Forum Section

January 22, 2014

CFP:  Twitter, Celebrity and online public identity

Abstracts due: 28th Feb 2014

Contact and submissions to: Sarah Thomas skt@aber.ac.uk

The ongoing adoption of Twitter as a tool for communication, broadcasting and interaction has meant that the social media platform has emerged as a significant site for re-thinking some of the key relationships between celebrity, performance and the presentation of the self. This CFP seeks short articles for Celebrity Studies Journal Forum section that explore Twitter and its usage beyond its status as a ‘new’ platform (that positions its singular significance through comparison with traditional representational media). We aim to consider the diversity of presentational modes that Twitter allows for through an examination of the different functions, usages, modes of address and performance that may operate across the site in its own right. In particular, we are interested in the way the platform has re-invigorated debates around the conception of authenticity as a way of understanding the online presentation of public personalities, and are especially interested in receiving submissions that explore the following topics:

 

  • The presentation of self online
  • Authenticity and interactivity
  • Performance, authenticity and the digital self
  • Interactive celebrity
  • Digital labour and celebrity
  • Online spaces of ‘public privacy’

 

The special issue of the journal will incorporate the style and ethos of Twitter in the submissions:

Abstracts should be 140 words.

The short articles should begin with reference to a specific Tweet that sparks the analysis within the rest of the article.

The final word count for the article will be between 750 and 1,500 words, depending on the number of accepted submissions.

 

Detailed schedule of production

Abstracts due: 28th Feb

First drafts: 28th March

Editors return: 25th April

Final drafts: 23rd May

Contact and submissions to: Sarah Thomas skt@aber.ac.uk

 

Call for Papers: The Classical Canon and/as Transformative Work, special issue of Transformative Works and Cultures

January 22, 2014
Call for Papers: The Classical Canon and/as Transformative Work, special issue of Transformative Works and Cultures (March 2016)
Guest edited by Ika Willis, University of Wollongong
Fan fiction is often compared to the literature of Greco-Roman antiquity. Both fan writers and classical authors use the techniques of allusion, appropriation, and transvaluation to expand on and/or to critique existing works. Both circulate works within small, intimate communities, constituted as audiences for transformative works by their detailed knowledge of a shared group of texts. Furthermore, practitioners and scholars of fan fiction and transmedia storytelling explicitly refer to the megatext of Greek mythology as the historical precursor and model of the vast narrative objects of contemporary popular culture.
Although the comparison is frequently made, it is rarely fleshed out, historicized, or theorized. This special issue addresses this. We invite papers treating classical literature/art as fan work; papers on contemporary fannish uses/transformations of ancient Greek and Roman literature, mythology, or history; papers investigating similarities and differences between contemporary transformative fan work and classical literature and art; and papers reflecting on what is at stake in making the comparison: what potential benefits and risks does it bring? Submissions should be aimed primarily at a fan studies audience, but should also be credible contributions to the study of classical literature and its reception.
We welcome submissions which compare fan fiction and classical literature in relation to any of the following, or on topics not listed:
* Narratology: prequels, sequels, and paraquels; vast narratives and megatexts
* Intertextuality: allusion, hypertext, palimpsest
* Community: production, distribution and reception mechanisms
* Mythology: myth fan fic, fan fic as myth
* Canonicity: the value and status of transformative works
* Transmedia: fan fiction, fan art, classical visual and material culture
Submit final papers directly to TWC by March 1, 2015. Please visit TWC’s Web site for complete submissions guidelines, or e-mail the editors at editor@transformativeworks.org. Contact guest editors with any questions or inquiries at classicalfanwork@gmail.com.
Theory: Peer review. Length, 5,000–8,000 words plus a 100–250-word abstract.
Praxis: Peer review. Length, 4,000–7,000 words plus a 100–250-word abstract.

Call for Papers: Fan Studies & Fandom, Popular Culture Association of Australia and New Zealand 5th Annual Conference, Tasmania, Australia, 18-20 June 2014

January 17, 2014

Popular Culture Association of Australia and New Zealand

5th Annual International Conference

June 18-June 20, 2014

The Hotel Grand Chancellor Hobart, Tasmania Australia

CALL FOR PAPERS

Fan Studies and Fandom

Deadline for abstracts: March 1, 2014

Proposals for both panels and individual papers are now being accepted for all aspects of Fan Studies, 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 – Live Journal, IMDB and beyond
•Fan Communities
•Fan Media Production – icons, fanvids,  fan art and filk.
•Fans as Critics
•Fan videos
•Fan crafts
•Fan pilgrimages

Please submit 150 word abstract and 100 word bio. Panel proposals should include one abstract of 200 words describing the panel, accompanied by the abstracts and bios (100 words) of the individual papers that comprise the panel.  Graduate students are encouraged to submit proposals.

Please send all enquires to:

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

Or to fandom@popcaanz.com

The Popular Culture Association of Australia and New Zealand (Popcaanz) is devoted to the scholarly understanding of everyday cultures. It is concerned with the study of the social practices and the cultural meanings that are produced and are circulated through the processes and practices of everyday life. As a product of consumption, an intellectual object  of  inquiry,  and  as  an  integral  component  of  the  dynamic  forces  that  shape societies.

 

Call for Papers: Sport, Festivity and Digital Cultures, LSA2014, Uni of West of Scotland, UK, 31st Jan 2014

January 17, 2014

**The following conference is particularly interested in submissions of papers looking at fan studies, sports and digitality**:

Sport, Festivity and Digital Cultures

Leisure Studies Association Summer Conference
7-9th July 2014
Hosted by University of the West of Scotland, Paisley, Scotland
Deadline for proposals: Jan. 31st, 2014
Submit to LSA2014@uws.ac.uk

http://www.uws.ac.uk/schools/school-of-creative-and-cultural-industries/conferences/lsa2014/call-for-papers/

Conference themes:
Abstracts are invited for papers that address the main themes of Sport, Festivity and Digital Cultures:

  1. Sport (sport tourism; sport and the outdoors; sport and festivity; sport and community engagement)
  2. Festivity (festivals, events and identity politics; festivals, events and the common good; assessing the cultural value of festivals and events)
  3. Digital cultures (festivals, events and digital cultures; sport and digital cultures; digital leisure communities)
  4. Emerging researchers. The conference will host a PhD Strand with Panel Question and Answer session and early career workshops led by LSA members. Papers across (and beyond) the main conference themes are encouraged.
  5. Open stream. In addition to papers addressing one of the main conference themes, novel research outside those thematic foci is also welcome. The open stream of the conference is designed to encourage / enable conference participation for Members and others for whom the current year’s theme is not within their particular area of interest, but have a contribution to make to leisure studies theory, methodology, policy and pedagogy.

Abstracts can take one of two forms:

Individual: Single abstracts from individuals/co-researchers submitting a paper that addresses the conference theme or themes (Limit one paper per main presenter)

Proposed panel: A set of three abstracts from a group of individuals /co-researchers submitting a coherent set of papers that address the conference themes and which could be scheduled together in one parallel session. (Limit one paper per main presenter)

Submission 
250-350 words, structured as follows and submitted by email toLSA2014@uws.ac.uk

  • Each Author biography: 100-150 words indicating position, field of study, main research interests and key publications where appropriate; and full professional contact details
  • Full title of paper as it will appear in the conference programme
  • Abstract main body, including background (outline of the policy context and/or academic literature informing the research), approach (indication of the broad theoretical orientation and/or methodological approach) and significance (description and application of the original research findings reported in the paper)
  • Most relevant conference theme (sport, festivity, digital cultures, emerging researchers, open stream)
  • Bibliographic references for any research cited in the abstract (no tables, figures or footnotes)

Student Bursaries
The LSA will award £100 each to (up to) the first 10 current PhD students who (a) have submitted a proposal through the regular procedure and (b) have been accepted onto the conference programme, and (c) register to attend the full conference. The award will further complement the already extremely preferential student registration rates, and will be credited directly towards the registration fee. Recipients of the award will thus be able to attend the full 3-day LSA 2014 conference (including meals and accommodation) for the regular student fee less £100.

  • Supported by Glasgow 2014 Commonwealth Games.

Call for Papers: My Little Pony: A Transcultural Phenomenon, University of Brighton, UK, 28th June 2014

January 17, 2014

My Little Pony: A Transcultural Phenomenon

Saturday 28 June 2014

University of Brighton – Grand Parade

The recent popularity of ‘My Little Pony: Friendship is Magic’ has reignited interest in this well-known franchise of children’s culture. Remaining strongly associated with a series of toys aimed at young female consumers, the reimagined show has attracted positive praise for its style, stories, and characterisation, critical discussion of the constructions of femininity the series promotes, and – unprecedented for an animated series primarily aimed at girls – a large and dedicated adult male fan base. MLPFIM raises a range of issues relating to contemporary children’s television, the blurring of entertainment and advertising, transformations across long-running media franchises, the politics of pink culture, adult appropriation of children’s media, fandom and its relationship with the culture industries.

This one day conference seeks to place the 30 year long ‘My Little Pony’ series within critical, cultural and creative contexts, exploring the brand from a multi-disciplinary range of perspectives. 300 word abstracts are invited, which might include but not be limited by the following perspectives:

  • twenty first century children’s media, film and television
  • ancillary products and merchandise
  • transformations across MLP generations
  • the political economy of media franchises
  • animation history
  • fandom and critical engagements with pleasure
  • feminist approaches to children’s toy and television industries
  • identity politics of gender, race, class, sexuality and national identity
  • nostalgia and autobiography
  • collections and collecting
  • queer ponies
  • authorship
  • fantasy and mythology
  • convergence culture
  • the ethics of children’s media
  • popular culture and cultural value
  • anthropomorphosis and animal studies
  • subcultures

Please send abstracts and enquiries to Ewan Kirkland at e.kirkland@brighton.ac.uk. Deadline 28 May 2014.

http://arts.brighton.ac.uk/research/research-conferences/my-little-pony

 

CFP: New Perspectives on Cinematic Spectatorship, Digital Culture & Space: Re-evaluating Exhibition, Participation and Interaction

January 14, 2014

CFP: New Perspectives on Cinematic Spectatorship, Digital Culture & Space: Re-evaluating Exhibition, Participation and Interaction

Throughout the history of the moving image interrogations of film as text have arguably taken precedence over analysis of cinema as space. The film industry and film academia both assume, and thus assert, a dominant understanding of the environmental architecture of cinema based on a set dynamic between projector, screen and viewer. Ingrained over time from these spatial parameters is an almost taken-for-granted idealisation of the unique experience of film viewing: the ‘cinematic dispositif’. Despite the cultural hegemony of the traditional ‘cinematic dispositif’, in a 2008 article André Parente and Victa de Carvalho suggest that film history is littered with (often overlooked) variations and experimentations in cinema’s spatial parameters. Writing from the context of the binary between cinema and art they suggest that contemporary transformations “call for a reproblematisation of the dispositif and its conceptual, historical and conceptual aspects” (2008: 39). This issue of Networking Knowledge seeks to publish a range of articles that interrogate and problematise the ‘cinematic dispositif’ in light of the transformative effects of digital culture.

A raft of digital, technological advances is affecting viewing practices, which in turn, are challenging the ‘sacrosanct’ space of the cinema auditorium in myriad ways. In the early nineties Thomas Elsaesser postulated a revolutionary time for cinema referencing reactions to the influence of television and VCR and only touching on the future virtual spaces to come. Since then, a host of institutional, technological and cultural transformations has engendered a redefinition of the production, distribution and exhibition landscape. Further than this the spectrum of outcomes and possibilities of cinema metamorphosing as a spatial, experiential, interactive, phenomenological construct have only just begun to be realised. This issue seeks to contextualise and theorise the relationship between bodies, spaces, technologies and screens in the digital age, providing a philosophical interrogation of contemporary cinematic experience. We invite articles in subject areas, which may include but are not limited to:

New theorisations of cinematic spectatorship
New philosophies of bodies/spaces/screens
The effect of new modes of distribution in cinematic viewing
Influence of communications technologies and social media
Forms of interactivity and cinematic immersion
New filmmaking practices and tools
Trans-media effects
Issues for film criticism, journalism and writing
Debates around the future of Film Studies as a discipline
Analysis of practices designed to preserve a ‘traditional’ understanding of cinema.

We invite articles by postgraduate and early career researchers, which are 5,000 to 6,000 words long. Please send abstracts of up to 300 words along with a 50-word biography by April 1st 2014 to Dario Llinares (dario.llinares@falmouth.ac.uk) and Sam Ward (aaxsjw@nottingham.ac.uk). Articles will be due on 1st August 2014. Please contact the editors for any further information.

Dr Dario Llinares and Dr Sarah Arnold, Falmouth University
Guest Editors

Sam Ward
Journal Editor