Archive for July, 2016

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

July 28, 2016

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:

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.

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 should you require further information.
Dr Gary Sinclair


PopMatters CFP: Star Trek’s 50th Anniversary 

July 26, 2016

​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:
Be sure to identify your article as StarTrek50 in the header.

Send inquiries or questions to:

​CFP: Videographic Approaches to World Cinema and Transnational Circulation

July 26, 2016

​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:

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 <> and Michael Talbott  <> by Friday, August 12.

CFP: Science Fiction Film and Television

July 24, 2016

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

Any queries should be directed to the editors, Mark Bould (
Canavan ( and Sherryl Vint  (

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

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,
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:
Please submit abstracts of 300 words or less, and a Participation Information Form (available here: to Anna Wilson (

​CfP: Fantastic Fan Cultures and the Sacred

July 20, 2016

​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  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

FSN2016: Daily Fandom Review

July 15, 2016

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:

Call for Chapters: Jessica Jones edited collection

July 12, 2016


Netflix’s Original Series Jessica Jones, released December 2015, has received roaring critical acclaim and has established a monumental fan base. As both academics and fans of the series, we are intrigued by the amount of online and offline discussion that has arisen–especially among its many fans–on issues regarding gender and race politics, Netflix Original Series content, and feminism. Acknowledging and citing the series as a site of rich cultural content, we invite submissions for an edited collection based on Marvel’s Jessica Jones. In putting together this edited collection, our goal is to approach this from a variety of disciplinary lenses, touching upon media, fan, women, and gender studies.

Some questions we ask are: How does the representation of women’s bodies open up conversations of trauma and consent? Does Netflix original series content change the landscape of present and future television/small screen programming? How do fans engage with the series’ traumatic content?

Possible topics for submission include but are not limited to:

The political economy of Netflix productions and/or the Marvel Cinematic Universe as it relates to Jessica Jones
Politics of representation (gendered bodies, racialized bodies, rape, PTSD)
Representations of rape, assault, and gender-based violence
Consent culture
Audience reception and Jessica Jones fandom
Jessica Jones on social media

Submission Guidelines
Please submit in one (1) Word document (.doc/.docx) an abstract of approximately 200 words outlining your intended chapter. The abstract should clearly state a purpose or research question, methodology/theoretical framework, and (preliminary) results/conclusion. Please include a short (no longer than 100 words) biography of yourself and your contact information to: by August 1, 2016.

We will contact you once we review all submissions (mid-September) at which time, we will provide further details for the final papers (Due December 15, 2016).

If you have any questions, you can contact us at


Priya Rehal, York & Ryerson Universities
Jessica Bay, York & Ryerson Universities
Mary Grace Lao, York & Ryerson Universities

CFP: Online, offline and transcultural spaces in Australian Fandom

July 12, 2016

Australian fans have access to a wide array of popular culture content from around the world, developing relationships with these products that are as rich as fans from other parts of the globe. Until recently access to media products is limited by temporal
and spatial distance from countries of origin. Yet, at the same time practices from diaspora communities to preserve cultural identity introduces a multitude of global media content to a wider Australian audience. Australian fans thus engage with a mixture
of ‘conventional’ and ‘niche’ media products that places them both within the margins and in the mainstream.  While there may be parallels between Australia and other nations with multicultural communities, the geographical location, history and cultural mix
of Australian society give rise to unique contexts shaping the consumption and practices of Australian fans.

We thus ask the question: What makes the Australian fan experience unique? What influence does geo-political location have on the consumption and appropriation of popular culture in the Australian context? What impact does Australian multicultural society
have on exposure and access to popular culture? What drives Australian fan interaction with global popular culture, and how does this interaction intersect with narratives of ‘Australian-ness’ in local and globalised contexts?


This book seeks to explore the specific and unique experience of being fans living and Australia.


We seek authors to contribute critical chapters for an edited volume to be submitted to University of Iowa Press. Topics include but are not limited to:

  • Online fandom
  • Offline fandom (including convention attendance, fan-celebrity interaction etc)
  • Fan perceptions of celebrity brands/identities/public persona
  • Fan fiction
  • Cosplay culture
  • Anime culture
  • Manga culture
  • Subcultures of fandom
  • Transcultural fan practices (e.g. fan Subbers)
  • World cinema fandom
  • Cult cinema fandom
  • Comic book fandom
  • Distribution practices including Fast tracked television, Streaming services and Netflix
  • Fandom and national identity

Please email 300 word abstracts and your
CV to both Celia Lam and Jackie Raphael by
August 31 2016. Proposals should be for original chapters that have not been previously published (including conference proceedings), and are not under consideration from other journals or edited collections.


Dr. Celia Lam is Lecturer in Media and Communications, School of Arts and Sciences, University of Notre Dame Australia, Sydney (


Dr. Jackie Raphael is Lecturer in Design, School of Design and Art, Curtin University (


July 11, 2016

Adventures in Shondaland: Identity Politics and the Power of Representation

Editors:          Rachel Alicia Griffin, Ph.D., University of Utah

                        Michaela D.E. Meyer, Ph.D., Christopher Newport University

At this time, we have 12 confirmed and drafted chapters for our collection. Due to unforeseen circumstances, a few spaces have become available
for additional chapters. As described in our original call below, our collection is framed by three sections pertaining to Shondaland: (1) Industry, (2) Text, and (3) Audience. To compliment the strong chapters we currently have in each section, we are specifically
seeking out proposals that address:

Identity Politics (especially ability, religion, and/or nationality)


Audiences (reactions, interpretations, engagement, communication and relationships with Rhimes herself and/or Shondaland actors,
e.g., Jesse Williams via Twitter and BET)


Private Practice


The Catch


Social justice and activism


Social media activism

Proposals are due by Monday August 1st 2016 and accepted proposals will be notified
soon after. The anticipated deadline for full chapter drafts ismid to late fall, so authors who are able to make their chapter a priority in the near future or who have projects already in progress are likely the best fit for this call. Please follow
the guidelines below outlined in our original call for proposal requirements, and send proposals to by
Monday August 1st 2016 with “SHONDALAND” in the subject line.


Communication approaches to the study of television tend to be constrained by arbitrary divisions between text, audience, and production, and thus,
we often limit our engagement with the interrelationship between textual representation (rhetorical approaches), audience interpretation (cultural studies approaches), and production strategies (industry perspectives). Building upon recent works that blur
the distinctions between text, audience, and production (e.g., Holmes, 2004; Meyer, 2007; Watts & Orbe, 2002; H. Wood, 2005) to further theorize the communicative function of television, communication scholarship needs to integrate its approach to contemporary
television studies.

This edited collection aims to bridge these divides by focusing on the television legacy of Shonda Rhimes. Rhimes is the creator and/or producer
of Grey’s Anatomy (2005-), Private Practice (2007-2013), Scandal
(2012-), How to Get Away with Murder (2014-), and, most recently, The Catch (2015-2016 season pilot debut). Her narratives capture large audiences in coveted primetime slots and continue to be highly economically successful. As the most powerful
Black woman in the history of network television, Rhimes’ primetime network influence via ABC shapes the landscape of how we understand television representation, interpretation, and production in the 21st century. Simultaneously, as an influential
public figure, her success, candor, humility, and intentionality significantly shapes discussions of identity/ies and diversity in current network television. Further indicative of Rhimes’ presence/audibility/visibility/influence in public discourse, @shondarimes
boasts 961K followers, and her tweets often address identity politics and the power of representation. This influence is not limited to Rhimes herself, as the fans, actors, and writers working with/following Rhimes also contribute heavily to our public understanding
of what is at stake in current television narrative and practices.

Our goal in this collection is to offer a complex reading of “Shondaland” by interrogating: representation, audience responses to Rhimes’ narratives/public
discourse, and larger industry issues such as casting and the emergence of new media technologies.

We are currently seeking proposals to augment our collection that address the following topics:

Complex textual readings of any of Rhimes’ narratives (listed above).


Audience-centered approaches to Rhimes’ work such as focus groups, interviews, autoethnography, or analysis of fan discussion/response to particular narratives/storylines/characters.


Cultural critique of industry norms and practices that influence Rhimes’ work such as representation, casting, writing, and/or industry scandal (e.g., Washington/Knight scandal
on Grey’s, the use of Rhimes as an “all encompassing” spokesperson for diversity on television, etc.).


We are
especially interested in proposals that embrace audience-centered approaches, critique industry practices and political economy, and analyze identity politics that include a focus on ability, age, transgender and gender queer identity, nationality, religion,
and racial and ethnic identities beyond the Black/White binary.


Proposals should operate theoretically and methodologically from critical approaches to the study of television.
Via a 500-750 word abstract, each proposal should make clear: (1) the chapter’s purpose framed in relation to the call,
(2) how the chapter is theoretically/conceptually and methodologically anchored,
(3) the chapter’s primary text(s)/trajectory for analysis/argument, (4)
the scholarly conversations the chapter is contributing to, and (5) the provocative questions raised and/or addressed by the chapter. Proposals should also include a bibliography of at least 15 working sources for the chapter proposed, as well as
a brief biography for each author (150 words or less). Proposals are limited to a 1500 word maximum (not counting the bibliography and bios).


Overall, for our planning purposes, each abstract should include an explicit indication of the chapter’s focus
on text and/or audience and/or production. Although we embrace the distinctions between text, audience, and production, we also see these as fluid and simply need to know which elements will be emphasized in the chapter.


Inquiries about the call or this project can be directed to either of the editors: Rachel Alicia Griffin (
or Michaela D.E. Meyer ( ).Please
include “SHONDALAND” in the subject line of all correspondence with the editors.