Archive for March, 2016

Call for Participants: ASEASUK 2016

March 4, 2016

ASEASUK 2016 (16-18 September 2016) at SOAS London

The title of our panel is “Politics of Tastes in Southeast Asian Cinema”
Abstract: and we are looking for another 3-4 panelists and/or a chair.

If you have a paper related to our panel proposal, please consider to submit to our panel.

Alternatively, if you have an idea but not suitable with our panel proposal, probably you can consider joining a more general panel: Emerging trends in SEA Literature and Screen Cultures.

Click to access file109440.pdf

The deadline is 30 March.

CFP: It’s HBO! Life After Legacy – Reading HBO’s New and Original Voices (Race, Class, Gender, Sexuality and Power)

March 1, 2016

It’s HBO! Life After Legacy (2018) will examine, not HBO’s legacy shows, but its current programming, bringing together an international group of media and cultural studies scholars to offer an in-depth look at issues of race, class, gender, sexuality and power behind HBO’s new and original voices.

Current shows, such as Game of Thrones; Girls; The Leftovers; Silicon Valley; True Detective; The Looking; Ballers; and Vinyl, will be discussed through the lens of sociocultural and political context and the transformation of American television and global society in the 21st century. There exists a range of issues here, driven by HBO’s current content, which are important not only to the shows, but to our understanding of society today.

What is it about Game of Thrones, a series of power, violence and fear, that resonates so deeply with audiences? How is it that True Detective (2014-present), a Nietzsche-influenced crime drama, broke viewing figure records? Why has HBO’s comedy-drama Looking (2014-2015) been celebrated as the most original and progressive depiction of queer characters in the 21st century? What is it about the post-Katrina New Orleans-set mini-series Treme (2010-2013) that has provoked discussion about cultural appropriation, race and class? How did indie comedy series Girls (2012-present) re-define the representation of Baby Boomer predecessors and their millennial successors? Why has post-apocalyptic drama The Leftovers (2014-present) been deemed the most brutal and essential, ‘new kind of religious’ viewing experience on television?

Editors: Victoria McCollum and Giuliana Monteverde

Deadline for Abstracts: March 31, 2016

Publisher: Routledge

It is anticipated that submissions will conform to one of the three book parts:

Part I: Authorship, Gender and Reception
Chapters in this section will focus on authorship, and explore the role of creator from a variety of perspectives. Essays should draw upon current HBO programming to analyse the role of the creator, and their perspective and method, in shaping the terrain of American popular culture and speaking to selected audiences.

PART II: Race, Place, Power and Risk
Chapters in this section will focus on HBO’s current programming’s treatment of gender, race, sexual orientation and class, and on the subsequent power relations employed in representing such important identity positions.

PART III: Consumption, Criticism and Fandom
Chapters in this section will focus on questions of political economy, the new culture industry and the changing critical landscape (YouTube reviews, podcasts, Reddit threads, wikis and Tumblr gifs).

Topics may include (but are not limited to):

Lena Dunham, Girls, and the Artistic Narcissism of Creative Millennials
Pizzolatto’s Flying Solo, Philosophical Meanderings and Existential Nihilism in True Detective
Age, Adaption and Traumedy in Olive Kitteridge
Toxic Masculinity, Golden Eras and Collapsing Economies in Vinyl
Game of Thrones: Medieval Laddism, Rape Culture, and Feminist Fandom
(White Girl) Feminism, Privilege and White-Washing in Girls
Postfeminism, Scathing Satire and Political Humor in Veep
Age, Disability, Class and Corporatization in Getting On
The Rapture, Religion and Complicated Worldviews in The Leftovers
Race, Class and Political Truth in Storm-Damaged Treme
Geeks, Freaks, Feminism and Capitalism: Satirizing the Tech World in Silicon Valley
‘The Rock’, American Dreams and Racial Nightmares in Ballers
Queer Naturalism and Petitions For Change in Looking

Submission Guidelines: Abstracts/Proposals (250 words) with a 50-word biography due: March 31, 2016. Notifications made by: April 10, 2016. Accepted and completed papers (5000-6000 words with references in Harvard format) due: April 1, 2017.

Please send inquiries and abstracts to editors:
Victoria McCollum and Giuliana Monteverde at:

Call For Papers: International Vampire Film and Arts Festival – 26-29 May 2016, Transylvania, Romania

March 1, 2016

The inaugural International Vampire Film and Arts Festival will take place in Sighisoara in Transylvania, Romania, on May 26th – 29th 2016.

From Stoker to Rice; from Nosferatu to classic Hammer onto Twilight, The Strain and beyond – the vampire genre is the world’s most enduring and influential horror genre straddling film, television, literature, theatre, games and new media. IVFAF brings together vampire media-makers from across the World in one cross-industry event – an exciting four-day programme of film screenings, book launches, readings, theatre, seminars, workshops, tours, networking events, a trade fair and parties. The Festival will take place within the walls of the dramatic medieval citadel that was the birthplace to the real Vlad Dracula and will involve industry, artists, fans and academics.

Confirmed speakers include:

Dr Stacey Abbott (University of Roehampton)
Professor Richard Hand (University of South Wales)
Dacre Stoker (Author)

This call for papers is for scholars interested in presenting their work in the academic symposium that runs alongside the Festival (in association with the University of South Wales). Proposals for single 20-minute papers or pre-constituted panels (of 3 x 20-minute papers) on any aspect of the Vampire are now welcomed from scholars working in (but not limited to) the following areas:

• Literature
• Film & TV Studies
• Gothic Studies
• Media & Cultural studies
• Art
• Fashion
• Audience & Fan Studies
• Theatre Studies
• Music

We are also interested in proposals for academic roundtables or workshops. The deadline for proposals is Wednesday 9th March 2016.

Please submit 250 word abstracts and a short author biography to Dr Rebecca Williams at

Further information and regular updates on the event, including information on the Industry Strand and the VampFest fan Festival can be found at

You can follow the Festival on Twitter @VampireFestival or find it on Facebook at

CFP: Sex and Sexualities in Popular Culture: Feminist Perspectives 2016, September 3rd, 2016, Bristol, UK

March 1, 2016

Sex and Sexualities in Popular Culture: Feminist Perspectives 2016

Call for Papers for a 1-day postgraduate symposium hosted by the Digital Cultures Research Centre

Abstract deadline: April 15th, 2016

Conference date and location: September 3rd, 2016, Digital Cultures Research Centre, The Watershed, Bristol

Eligibility: Postgraduate students (MA/MSc onwards) and creative practitioners

Send abstracts to:

Keynote speaker: Cheryl Morgan

The second annual Sex and Sexualities in Popular Culture: Feminist Perspectives symposium is returning to the Bristol Watershed in September 2016. Following an exciting inaugural symposium in 2015, this year’s event will continue our tradition of offering a safe, inclusive space for postgraduate students and creative practitioners to meet peers, share work and learn from each other.

We are delighted to welcome Cheryl Morgan as the keynote speaker for PopSex16. Cheryl is a Hugo award-winning science fiction critic and publisher. She is the owner of Wizard’s Tower Press and the Wizard’s Tower Books ebook store. Previously she edited the Hugo Award winning magazine, Emerald City (Best Fanzine, 2004). She also won a Hugo for Best Fan Writer in 2009. She is a Co-Chair of Out Stories Bristol and lectures regularly on both trans history and science fiction and fantasy literature.

We continue to be interested in how representations of sex and sexualities in popular culture shape feminist – and anti-feminist – issues and discourses. Since our 2015 event, we have seen both the box office success and backlash against films such as Mad Max Fury Road (noted for strong feminist themes and female leads in a traditionally male-dominated franchise) and Star Wars: The Force Awakens (which upset “Men’s Rights Activists” through its failure to feature a straight, white, male hero). MRAs have also made abortive attempts to organise away from the keyboard. Eddie Redmayne, the cisgender male actor cast as the lead in The Danish Girl, has drawn criticism for his claims that the movie has brought trans issues to the mainstream. Fanfiction has received even more mainstream coverage with speculation that pressure from fans may move Disney to make one of the leads in the latest Star Wars trilogy canonically gay. And of course many aspects of sex and sexualities remain silenced and unrepresented in popular culture. We welcome, among others, proposals which examine these trends and take the (mis/under)representations of sex and sexualities in popular culture as a starting point to theorise the links between popular culture and real-world feminist issues and activism.

We aim to create a space safe for experimentation – both with new ideas and with presentation formats. We therefore encourage a range of submissions, including workshops, discussions, pecha kucha, as well as the traditional 20-minute paper format.

Possible topics include but are not limited to:

– Representations of women’s desire and sexualities in popular culture
– Non-cis- and heteronormative sexualities in popular culture, especially beyond “gay and lesbian”
– Representations of sex work
– Infertility and sexual dysfunction
– Sexual intersections, including race, disability, religion, class and socioeconomic status, gender, etc.
– Sex and sexualities in gaming
– Sexual pleasure in popular culture
– Invisibility: (a)sexualities unrepresented
– Sex, sexualities and social media
– Sex and sexualities in fan and transformative works

Please submit a 300-word abstract and a 100-word bio to by April 15th, 2016.

We look forward to your proposals

Bethan Jones, Monika Drzewiecka, Milena Popova