Author Archive

Call for Presentations: Ann Radcliffe Academic Conference at StokerCon 2017

August 17, 2016

Call for Presentations:

Ann Radcliffe Academic Conference at StokerCon 2017
Abstract Submission Deadline: December 31, 2016

Ann Radcliffe Academic Conference held in tandem with StokerCon 2017
Conference Dates: April 27 – 30, 2017
Conference Hotel: The Queen Mary, Long Beach, California
Conference Website:

The Ann Radcliffe Academic Conference co-chairs invite all interested scholars and academics to submit presentation abstracts related to horror studies for consideration to be presented at the Second Annual StokerCon, April 27-30, 2017 held on the historic The Queen Mary, moored at Long Beach, California (see: ).

Horror continues to be a dominating genre within the wider pop-culture arena, and continued academic analysis of horror remains critical. Hence, we are looking for presentations that will discuss completed or works-in-progress that expand the scholarship on various facets of horror that proliferates in:

• Art
• Cinema
• Comics
• Literature
• Music
• Television
• Video Games
• Etc.

We invite papers that take an interdisciplinary approach to their subject matter and can apply a variety of lenses and frameworks, such as, but not limited to:

• Auteur theory
• Close textual analysis
• Comparative analysis
• Cultural and ethnic
• Fandom and fan studies
• Film studies
• Folklore
• Gender/LGBT studies
• Historic analysis
• Interpretations
• Linguistic
• Literature studies
• Media and communications
• Media Sociology
• Modernity/Postmodernity
• Mythological
• Psychological
• Racial studies
• Semiotics
• Theoretical (Adorno, Barthes, Baudrillard, Dyer, Gerbner, etc.)
• Transmedia

Conference Details

• Please send a 250 – 300 word abstract on your intended topic, a preliminary bibliography and your CV to by December 31, 2016. Responses will be sent out during January, 2017.
• Presentation time consideration: 15 minute maximum to allow for a Question and Answer period. Limit of one presentation at the conference.
• There are no honorariums for presenters; this is an academic conference. There is, however, a StokerCon2017 award opportunity; see

Organizing Co-Chairs

Michele Brittany & Nicholas Diak

The Ann Radcliffe Academic Conference is part of the Horror Writers Association’s Outreach Program. Membership to the Horror Writers Association is not required to submit or present, however registration to StokerCon 2017 is required to present. StokerCon registration can be obtained by going to If interested in applying to the Horror Writer’s Association as an academic member, please see .

StokerCon is the annual convention hosted by the Horror Writers Association wherein the Bram Stoker Awards for superior achievement in horror writing are awarded.

Call for papers: “Strong Independent Shipper Who Don’t Need No Canon:” When Fans Reject Canon, 2017 PCA/ACA Annual National Conference, San Diego, USA, 12-15 April 2017

August 5, 2016

“Strong Independent Shipper Who Don’t Need No Canon:” When Fans Reject Canon

Popular Culture Association/American Culture Association 2017
San Diego, Wednesday, April 12th—Saturday, April 15th

Although not a new phenomenon in television fandom, the past several years have seen a number of fandoms, particularly slash fandoms, separate themselves from or fully reject their canons – with some fans even calling for shows to be cancelled, i.e., Sterek from Teen Wolf and Clexa from The 100. This trend is at once surprising (doesn’t the nature of fandom mean that fans support their chosen canons?) and predictable, given the transformations and expansions of fandom in the 21st century with the advent of social media and Archive of Our Own. This proposed panel for the PCA/ACA National Conference explores this phenomenon across fandoms, investigating the motivations and effects of fandoms that reject their canon shows.

Potential topics could include, but are not limited to:

In-depth examinations of a specific television fandom that has rejected its canon
How the ever-changing dynamics between fans and producers contributes to this trend and the effects of this for specific fandoms, the canon, and/or transformative fan production
Analyses of fanfiction/fanart that revises and/or “fixes” the canon (“fix-it” fics)
How this trend plays out when the ship is canonical versus non-canonical
Explorations of fandom discourses (Tumblr, Twitter, etc.) that negotiate the rejection of the canon
Fan campaigns for cancellation of shows
How queerphobia towards slash ships plays into this trend, and what this suggests about contemporary media and slash fans, particularly in relation to commonly-accepted Fan Studies theories

Proposals from any theoretical perspective are welcome, as well as proposals that take a more personal, “creative” approach to the topic.

Please email a 250-300 word abstract to panel chair Taylor Boulware at by September 15th, 2016, along with a brief bio (approx. 100 words) that includes your institutional affiliation.

Questions about the panel or PCA/ACA can also be sent to

Call for Contributions: A Tumblr Book

August 5, 2016


co-editors: Allison McCracken, American Studies, DePaul University; Louisa Stein, Department of Film and Media Culture, Middlebury College; Alexander Cho, University of California Humanities Research Institute

We’re putting together a book to identify ways in which Tumblr has had an important social and industrial impact, both as a digital platform and a cultural forum.­ This volume will be multi-vocal and accessible to a broad audience, representing a variety of Tumblr users and commentators, including scholars, public intellectuals, activists, and fans. We are particularly compelled by Tumblr’s status as a social media platform known for fostering spaces for socially marginalized users, including youth, people of color, queer people, the disabled, and the poor.

This publication will be in English, but we are committed to exploring non-Western perspectives and others beyond the US/UK. We are soliciting contributions that focus on various aspects of the platform, including any combination of:

Tumblr’s affordances and limitations as an interface/platform and as a cultural space
Aesthetic and linguistic traditions on Tumblr, including hashtags, gifs, images, and notes
History and development, including the Yahoo acquisition
Industry presence, marketing practices and goals
Creative production and/or critical analysis
Intersections of race, gender, sexuality, class, age, and ability
Community development and support
Politics and activism (including the “social justice warrior” discourse)
Identity formation and affirmation
Education and mentoring networks
Transnational/transcultural studies
Tumblr within the transmedia landscape
Fan cultures and activities
The centrality of sexually explicit content (“nsfw”), pornography, and pleasure
Teaching, therapy and other professional uses (such as “social media director”)
Ethical concerns
Contribution Guidelines:

We welcome proposals that address any of the aforementioned topics of analysis, and we are looking for work in a range of formats, including traditional academic essays, shorter think pieces, personal testimonies, interviews, video essays, art, GIF essays, and group discussions. This book will combine hard copy and digital components in order to incorporate multimedia contributions. For example, we are interested in community histories and activities (written by individuals or groups), critical discourses and discussion (including specific examples of such), and creative production we can reference in the book and publish digitally (such as fan art). We will use both illustrations and written excerpts with artist and author permission. It is very important to us to feature a variety of voices; please feel free to contact us for help in developing a proposal, especially if you are not familiar with the publication process but have an idea of something you’d like to contribute.

Written work should generally fall between 2,000 and 7,000 words. Inclusion in the book will be based on abstracts of between 300-500 words and, for full consideration, they should be received by September 30, 2016. Contributors can use their tumblr or public names or remain anonymous. Please send this abstract and any questions or concerns you have to Visit for more information.

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

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 (

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

Transformative Works & Cultures journal, Special Issue CFP: Social TV Fandom and the Media Industries

June 21, 2016

Transformative Works & Cultures, Special Issue CFP: Social TV Fandom and the Media Industries

When Henry Jenkins calls the mid-2000s media landscape one of convergence culture, he describes the intersection of media industries, online social media, and television audiences. Using emerging multiplatform strategies producers can directly engage and immerse potential television audiences. Likewise, industry shaped hailing of fans creates fan-like audiences, but it does so within limits, reflecting industry concerns and agenda.

Nearly a decade later, both audiences and industry expect direct and continuous engagement between a series and its audience. Industry-instigated fandoms exist alongside and in conversation with fan-instigated community engagement. In particular, the rise of social media platforms like Twitter, Facebook, and Tumblr have made multiplatforming both more efficient and more mainstream, meaning that now nearly every television show has an online presence that welcomes fan engagement. As this reality of “social television” matures, however, the connections it promises between producers, actors, and viewers are tested by each new platform, each controversial story development, and by the ever-present politics of power and identity that shape any and all interactions between industry and audience.

This special issue aims to put emerging research on social media platforms and ongoing work on online fan culture in conversation to consider the impact the proliferation of those platforms is having on our understanding of the consumption and negotiation of television in era of on-screen hashtags, cast livetweets, Periscope, and the new world of “Social TV.” Topics may include, but are not limited to:

* Case studies of industry/fan engagement for specific series or networks
* Discursive framings of Social TV fandom in trade/popular press
* Negotiations of good/bad fandom in industry discourse
* Industry-produced transmedia storytelling and emergent platforms
* Industry-affiliated fan activism through Social TV practices
* Social TV in a global/transnational industrial context
* Adoption of fan identities by industry professionals
* Linear vs. non-linear Social TV practices
* Industry cultivation of and management of Superfans

Submission guidelines

Transformative Works and Cultures (TWC, is an international peer-reviewed online Gold Open Access publication of the nonprofit Organization for Transformative Works copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and to promote dialogue between the academic community and the fan community. TWC accommodates academic articles of varying scope as well as other forms that embrace the technical possibilities of the Web and test the limits of the genre of academic writing.

Theory: Conceptual essays. Peer review, 6,000–8,000 words.
Praxis: Case study essays. Peer review, 5,000–7,000 words.
Symposium: Short commentary. Editorial review, 1,500–2,500 words.

Please visit TWC’s Web site ( for complete submission guidelines, or e-mail the TWC Editor (editor AT

Contact—Contact guest editor Myles McNutt with any questions or inquiries at mmcnutt AT

Due date—March 1, 2017, for estimated March 2018 publication.

CFP: Transitions 7, New Directions in Comics Studies, at Birkbeck College, London, Saturday November 19th 2016.

June 10, 2016

Transitions 7 at Birkbeck College, London, Saturday November 19th 2016.

Organised in collaboration with Comica- London International Comics Festival, Transitions at Birkbeck College is unique in offering a regular comics studies symposium and meeting point in London, a platform for emerging research at an event that is free of charge and open to all. Originally convened by PhD students in 2009, Transitions has become an annual fixture in the UK comics scholars’ calendar.

We are still especially supportive of postgraduate and early career presenters, but open to any new and ongoing research in our field. Our aim is to provide a platform for debate and a space from which further collaborations can emerge, to further strengthen our area of study and academic community, and to support connections between comics scholars working in diverse academic departments and contexts.

We welcome abstracts for 20 minute papers, or pre-constituted panels of three, on topics including, but not limited to:

— Comics, comix, graphic novels, manga, manhwa, bande dessinée    Superheroes, genre comics, religious comics, documentary comics, children’s comics

—  Politics of representation in comics, formal approaches, trauma and comics,      transgressive comics, propaganda and comics
— Readers and fandoms, creators, publishing histories, transnational approaches, comics  and the law, web-comics and comics exhibitions

Alongside traditional panel presentations we would like to trial the more interactive format of a 20-minute workshop, potentially as a way of data collection and/or feedback on research-in-progress. Please indicate your preference by stating PAPER or WORKSHOP following your abstract title.

Apply by email to

Please attach your abstract of 250-300 words plus short biographical note (preferably as a Word document), indicating ‘abstract’ in the email subject line and your name in the file’s title.

The deadline for submissions is August 26th 2016.

With best wishes,

The Transition Team

CFP: Geek Feminism (edited collection)

June 9, 2016

CFP: Geek Feminism (edited collection)

Geek girls exist. But it wasn’t until a packed San Diego Comi-Con panel in 2010 actually entitled “Geek Girls Exist” that the ramifications of this fact began to be realized. Women’s increased visibility in science and technology, pop culture fandoms, sci-fi and fantasy storytelling, gaming, and other geeky endeavors has brought to the foreground a resistance to acknowledging a geek culture that isn’t straight, white, and male. On one level, geek feminism emerged to combat this oppressive atmosphere determined to discourage and erase the participation of geeks whose identities deviated from that norm. But on every other level, that fight is just a footnote to the myriad ways in which geek feminism is a unique (and frequently joyful) manifestation of what happens when the radical and imaginative potentiality of 1980s scientific, creative, and communications technologies intersected with the identity-conscious third wave feminism that emerged in the 1990s. While several books exist that detail first-person experiences and offer collections of resources for geek girls, this anthology will be the first book-length collection of scholarship exploring the ways in which geek feminism is expressed and practiced.

Submissions should draw on current work in fan studies, critical race theory, queer theory, feminist theory, jurisprudence, media studies, and transnational studies. While part of the anthology will need to be focused on feminist critique of geek culture, we encourage submissions that focus on the generative and imaginative aspects of geek feminism.

Potential topics and areas of interest could include:

The history of geek feminism
Analysis of geek fictions and characters
Speculative justice: when fictions correct fact
How to spot a geek girl: identity formation and performance
Cyber vs. IRL geek feminist praxis: the convergence of imagined, online, and “real” spaces
Geek-tivism as a response to systemic oppressions
The creative, productive, joyful practices of geek feminism
The business of geekdom: examinations of the creation, marketing and crafting of geek artifacts and products
And, of course, miscellaneous weird stuff

Send 300-word abstracts and short bios to Amy Peloff at and Nancy White at with subject line “CFP – Geek Feminism.” Since geek feminism is a relatively undefined term, we ask that each submission also include a brief attempt (c. 100-150 words) to define geek feminism within which to situate your proposed chapter. Our hope is to draw on the community of contributors to develop a definition of the term.

Abstracts should include title, author name, and institutional affiliation, as well as contact details. The editors will ask the authors of selected proposals to submit their final chapters no later than March 1, 2017.

Abstracts by October 1, 2016
Decision by November 1, 2016
Papers by March 1, 2017

Dr. Amy Peloff, Independent Scholar
Dr. Nancy C. White, University of Washington

Contact Info:
Amy Peloff at and Nancy White at

CFP: Uses of Fantasy in Changing Media Landscape, October 20–21, 2016, University of Jyväskylä, Jyväskylä, Finland

June 9, 2016

Uses of Fantasy in Changing Media Landscape, October 20–21, 2016, University of Jyväskylä, Jyväskylä, Finland

In recent years, fantasy fiction has gained popularity in different mediums. For instance, in television fantastic or speculative themes are more visible than ever before, and – as television scholar J. P. Telotte has noted – they are even invading the so called reality television. The Uses of Fantasy seminar focuses on the uses and users of fantasy in contemporary culture and contemporary representation of fantasy in different cultural mediums. In other words, the seminar concentrates on the reception, representation and meaning of fantasy in a changing media landscape. The seminar is organised by the project Uses of Fantasy – The World Hobbit Project in Finland in cooperation with the University of Jyväskylä and The Research Centre for Contemporary Culture.

We invite presentations and panels on the uses and users of fantasy as well as on the contemporary representations of fantasy on different mediums, such as literature, television, film, comics and graphic novels, games and new media. These may include but are not limited to:

Audience responses and the meanings of fantasy; affective attachments to fantasy; fantasy fandom and other participatory user practices
Adaptation and transmedia; representing fantasy via different mediums
The cultural meanings of fantasy; representations of cultural phenomena through fantasy; the politics of fantasy (e.g. in relation to gender, sexuality, ethnicity, age, class, disability etc.)
Fantasy and narration; fantastic characters; fantastic genres (science fiction, horror etc.)

Proposals for scholarly papers from any academic discipline that seek to examine, interrogate, and expand research related to any aspect of uses of fantasy, in any medium are welcome. Papers will be allowed a maximum presentation time of 20 minutes.

One of our keynote speakers will be Emeritus Professor Martin Barker, Aberystwyth University (Great Britain), who will give a lecture on The World Hobbit Project and also participate in the seminar.

Please submit a 500-word proposal describing the content of your proposed paper, and few words about yourself and your research (including your current affiliation) to hobbitprojectfinland(at) The deadline for the proposals is September 5, 2016.

If you have any questions about the seminar, please contact hobbitprojectfinland(at)


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