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Call for Papers: Kick it! The Anthropology of European Football, Vienna, 25/26 October 2013

April 22, 2013

Call for Papers:

Kick it! The Anthropology of European Football

Vienna, 25/26 October 2013

Football is one of the most well-loved and most widely shared expressions of popular culture. But why does football have a social role that stretches way beyond the stadium? The international conference “The Anthropology of European Football” seeks to understand football’s impact on everyday lives and identity dynamics in Europe. Thereby, the football phenomenon is not only perceived as being related to class relations and subculture, but at the same time as a symbolic domain that produces social identities at various levels.

Therefore, we would welcome proposals for papers on any of the following research strands, but by no means confined to these areas:

• How are supporter and fan identities created in the everyday practices of football fan culture?

• How do globalisation, commercialisation, and migration exert an influence on football fan culture?

• What impact do Europeanisation and the increasing mobility of both supporters and players have on the self-perception of football fans?

• How is the “Other” created among fans? How are exclusion and inclusion practices enacted, narrated and reproduced?

• What cleavages and loyalties cross-cut European football, such as East vs. West and North vs. South, class, gender or politics?

Keynote lectures: Dr. Cornel Sandvoss (University of Surrey, UK) and Dr. Hani Zubida (The Max Stern Yezreel Valley College, Israel).

We invite papers from researchers at all stages of their career. We especially encourage applicants whose research is based on ethnographic fieldwork or those with an anthropological background.

Proposals should include an abstract of 300 words, the author’s institutional affiliation, contact details and a short biography (all on one page). The submission deadline is 10 May 2013. Successful applicants will be notified by the end of June, with registration for the conference being opened after that date. Selected papers will be published as part of a special issue of an academic journal or an edited volume.

The event is part of the interdisciplinary European research project FREE – Football Research in an Enlarged Europe (www.free-project.eu) funded by the European Commission’s 7th European Framework Programme for Research (FP7). The conference is organised within the scope of the anthropological research strand of the project by the Department of European Ethnology at the University of Vienna in collaboration with the Department of Cultural Anthropology and Ethnology at the Adam Mickiewicz University Poznań. Please contact the local conference organisers if you require further information as to this conference, or the research network generally: Alexandra Schwell (alexandra.schwell@univie.ac.at) and Nina Szogs (nina.szogs@univie.ac.at).

FREE consists of nine collaborating universities:
ESSCA School of Management, Københavns Universitet, Loughborough University, Middle East Technical University, Universität Stuttgart, Universität Wien, Universitat de València, Université de Franche-Comté, Uniwersytet im. Adama Mickiewicza

Please feel FREE to submit your proposal by 10 May 2013
to free@univie.ac.at.
FREE – Football Research in an Enlarged Europe is an FP7 project funded under Socio-economic Sciences and Humanities

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CFP A Collection of Essays on Christopher Nolan

April 14, 2013

Over the past fifteen years, writer, producer and director Christopher Nolan has emerged from the margins of independent British cinema to become one of the most commercially successful directors in Hollywood. In particular Nolan has earned a reputation as a director able to extend the boundaries of mainstream film production. From his debut feature Following (1998) to The Dark Knight Rises (2012) Nolan’s films remain thematically and stylistically consistent while also demonstrating a continued evolution and innovation in terms of visual style, storytelling and technology, both artistically and within an industrial context.

Bringing together academic work from a range of disciplines, this proposed collection seeks to explore Nolan’s filmmaking, including his visual, narrative and thematic preoccupations, from a variety of perspectives and using a range of analytical and methodological approaches. These might include textual analysis, reception studies, film theory and criticism, narrative theory, psychoanalysis, philosophy and other methods in cultural studies. The collection has received very strong ‘in principle’ interest from Wallflower Press (now an imprint of Columbia University Press).

Possible topics include, but are not limited to:
• Adaptation
• The analysis of individual films
• Archetypes
• Auteurship
• The body
• The carnivalesque
• The city
• Cult film and fandom
• Gender, race, class and sexuality
• Genre and style
• The hero’s journey
• Iconography
• Media convergence
• Morality
• Narrative
• Philosophy
• The postmodern
• Post 9/11
• Psychoanalysis
• The soundscape
• Technology
• Trauma
• Visual style and aesthetics

Please submit a proposal of approximately 300 words. Each proposal should include a 50 word bio. Accepted essays will be approximately 6,000-7,000 words. Send your 300-word proposal (as an attachment in Word) by Friday 28th June 2013 to both:

Jacqueline Furby, Ph.D.
Southampton Solent University
East Park Terrace
Southampton, Hampshire
S014 OYN / United Kingdom
Email: jaqueline.furby@solent.ac.uk

and

Stuart Joy, MA
Southampton Solent University
East Park Terrace
Southampton, Hampshire
S014 OYN / United Kingdom
Email: stuart.joy@solent.ac.uk

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CFP: Fan Studies, 2013 Midwest Popular Culture Association Conference, St Louis, MO. October 11-13, 2013

April 11, 2013

St. Louis Union Station Hotel, A Doubletree by Hilton
Deadline: April 30, 2012
Submissions.mpcaaca.org

Topics can include, but are not limited to fan fiction, multi-media fan production, fan communities, fandom of individual media texts, sports fandom, or the future of fandom. Case studies are also welcome.
Please upload 250 word abstract proposals on any aspect of Fan Studies to the Fan Studies area, http://submissions.mpcaaca.org/.
Any questions? Please email Paul Booth at pbooth@depaul.edu,
More information about the conference can be found at http://www.mpcaaca.org/
Please note the availability of graduate student travel grants: http://mpcaaca.org/conference/travel-grants/.

Please include name, affiliation, and e-mail address with the 250 word abstract. Also, please indicate in your submission whether your presentation will require an LCD Projector.

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CFP: ‘Branding TV: Transmedia to the Rescue!’, Networking Knowledge: Journal of the MeCCSA-PGN

April 9, 2013

CALL FOR PAPERS: Branding TV: Transmedia to the Rescue! special-themed edition of Networking Knowledge: Journal of the MeCCSA-PGN

Guest Editor: Benjamin W. L. Derhy (University of East Anglia / Université Paris Ouest)Journal Editor: Matthew Freeman (University of Nottingham)Deadline for Abstracts: 10 June 2013

The television world is changing: as films and programmes become brands on their own – derivable in a variety of ways – and as technology has evolved so much that even the concept of narrative has been affected, marketing strategies have changed forever.

Transmedia storytelling is ‘a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience’ (Jenkins, 2006, 95-6). Though both a challenge and an opportunity for conventional industry production methods, it represents a marketing goldmine. Indeed, the rise of transmedia platforms – offering the possibility to create websites, mobile games, alternative reality games, interactive exhibitions, e-books, e-comics, webseries, etc. – and the increasing involvement of the audience have provided marketers with a whole new range of possibilities to boost both brand recognition and profits: rather than selling the show to networks, they now sell the story directly to consumers.

Rather than ‘reducing’ Transmedia storytelling to the augmenting effect it has had on the concept of narrative as a result of its ability to create an immersive environment, this special issue seeks to discuss the wide range of economic perspectives available to a Film/Television brand due to this very same immersive environment. The transmedia phenomenon has, so far, mostly been approached from an either textual or participatory perspective, but rarely so from a multidisciplinary perspective encompassing the marketing aspect. Providing insight on this topic through contributions from researchers in media, communications and cultural studies, but also in marketing, would enrich our collective understanding of Transmedia storytelling thanks to complementary viewpoints, in the hope of offering a more holistic approach.
Branding TV: Transmedia to the Rescue! welcomes articles from postgraduates and early career researchers of 5,000 to 6,000 words.
Areas of interest include (but are not limited to):·        

The textual and creative impact on Transmedia strategies·        
The technological, creative or financial limits of Transmedia strategies·        
The relationship of Transmedia storytelling with promotional and branding strategies·        
The differences between Transmedia branding and franchising·        
Study cases or historical examples of Transmedia strategies·        
The relationships between marketers and screenwriters and other practitioners·        
The cultural impact of such strategies to society·        
The relationships between marketers and participatory cultures·        
The reception of such practices by fan communities·        
Future developments of Transmedia practices

Please send abstracts (up to 300 words) along with a 50 word biography by June 10, 2013 to Benjamin W. L. Derhy (B.Derhy-kurtz@uea.ac.uk) and Matthew Freeman (aaxmaf@nottingham.ac.uk). Articles are due on October 15, 2013. Feel free to contact the editors for further information.

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Registration Now Open: Sherlock Holmes: Past and Present 21-22 June 2013 Institute of English Studies, Senate House, University of London

April 9, 2013

Conference webpage: http://www.ies.sas.ac.uk/ies-events/conferences/SherlockHolmes

Facebook: https://www.facebook.com/SherlockHolmesPastAndPresent

This conference offers a serious opportunity to bring together academics, enthusiasts, creative practitioners and popular writers in a shared discussion about the cultural legacy of Sherlock Holmes. The Strand Magazine and the Sherlock Holmes stories contribute one of the most enduring paradigms for the production and consumption of popular culture in the twentieth- and the twenty-first centuries. The stories precipitated a burgeoning fan culture including various kinds of participation, wiki and crowd-sourcing, fan-fiction, virtual realities and role-play gaming. All of these had existed before but they were solidified, magnified and united by Sherlockians and Holmesians in entirely new ways and on scales never seen before. All popular culture phenomena that followed (from Lord of the Rings to Twilight via Star Trek) shared its viral pattern. This conference aims to unpick the historical intricacies of Holmesian fandom as well as offering a wide variety of perspectives upon its newest manifestations. This conference invites adaptors of and scholars on Holmes, late-Victorian writing, and popular culture internationally to contribute to this scholarly conversation. Our aims are to celebrate Conan Doyle’s achievement, to explore the reasons behind Holmes’ enduring popularity across different cultures and geographical spaces, and to investigate new directions in Holmes’ afterlife. This conference will precede Holmes’ 160th birthday in 2014 and launch a new volume of essays on Holmes co-edited by Dr. Jonathan Cranfield and Tom Ue, and form part of the larger celebrations in London and internationally.

This conference is generously supported by Blackwell’s Charing Cross Road; Intellect Books; MX Publishing; UCL Arts and Humanities, including the Faculty Institute of Graduate Studies; UCL English; UCL European Institute; and UCL Public Engagement Unit.  We thank Owen Jollands for contributing all of the artwork; Carol Bowen, Stephen Cadywold, Anita Garfoot, and James Phillips from UCL English for their administrative help; Jon Millington from the Institute of English Studies in the School of Advanced Study at the University of London for his; Laura Cream from UCL Public Engagement Unit; and Karen Attar for putting together the Conan Doyle display at Senate House Library.  We are grateful to David Grylls, Douglas Kerr, John Mullan, and the conference participants for their contributions.

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Dr Who 50th Anniversary Celebration, 4 May 2013, De Paul University

April 5, 2013

The BBC television series Doctor Who has reached an historic milestone: 2013 marks the 50th anniversary of this vibrant and culturally relevant avant-garde science fiction series. In honor of this anniversary, and as a way of exploring the longevity of the series, the College of Communication and the Media and Cinema Studies program are hosting a day-long colloquium of scholars who will discuss in a public forum the critical, moral and ethical dilemmas depicted by the show.

“A Celebration of Doctor Who” is intended to spark debate and discussion about changing morals and ethics over the half century of the show’s presence on television, in print, on the radio and in films. Some topics that we will explore include: how does Doctor Who celebrate the minority? In what ways does Doctor Who articulate a notion of a utopian society? How does this mainstream text represent marginalized members of society (including people of different races, sexualities, the disabled, the impoverished, and other minorities in society)? In what ways does the Doctor Who fan audience counter the discourse of the marginalized in our culture?

A series of scholarly roundtables will bring together academics from the area to discuss the cultural context of Doctor Who. These roundtables will offer the audience of students and scholars the chance to engage in a deeply intellectual environment with the themes of the show over its fifty-year history. We hope to encourage papers which explore issues such as: race and representation in Doctor Who; the use of religion in the show; disability as depicted in the show and in the fandom; gender and sexuality in the show; the role of academia in developing understanding of the meaning of the show; the marginalization of people and activities; analysis of how production details affect a show’s meaning; the underlying ideology of global television. Additionally, because Doctor Who is a British television program, it brings with it a wealth of international pluralism. This colloquium is intended to spark debate about the nature of contemporary television across borders, times and eras.

Guest of Honor:
Writer Robert Shearman will be our keynote speaker. He will screen his Hugo-nominated Doctor Who episode “Dalek,” after which he’ll participate in an hour-long Q&A. (www.robertshearman.net)

Announced Participants (with more TBA):

Carole Barrowman
Carole Emily Barrowman is professor of English and Director of Creative Studies in Writing at Alverno College, Milwaukee, Wisconsin and a reviewer and crime fiction columnist for the Milwaukee Sentinel. She is also known for her writing contributions with younger brother (and Doctor Who star) John Barrowman. She is the author or co-author of Anything Goes, I Am What I Am, Hollow Earth, Exodus Code, and Bone Quill. (www.carolebarrowman.com/)

Derek Kompare
Derek Kompare is an Associate Professor in the Division of Film and Media Arts at Southern Methodist University (SMU). His research interests focus on media formations, i.e., how particular media forms and institutions coalesce and develop. He has written articles on television history and form for several anthologies and journals, and is the author of Rerun Nation: How Repeats Invented American Television, and a study of CSI: Crime Scene Investigation. At SMU, Derek teaches courses on media aesthetics, media theory, media history, media globalization, comics, video games, crime television and science fiction.

Scott Paeth
Scott Paeth is an Assistant Professor in Religious Studies, Peace, Justice, and Conflict series at DePaul University. He studies Business ethics, bioethics, ethics of war and peace. (las.depaul.edu/pax/People/ScottPaethPhD/index.asp)

Lars Pearson
Lars Pearson is the owner of Mad Norwegian Press, publishers of science fiction and sci-fi analysis books. He has co-written A History, a History of the Universe as Told Through Doctor Who. (madnorwegian.com/)

Lynne Thomas
Lynne Thomas is the co-editor of Chicks Dig Time Lords, a collection of essays about Doctor Who and the women who love it. She is the curator of Rare Books and Special Collections for Northern Illinois University Libraries. She has won two Hugo Awards. (www.niutoday.info/2012/09/19/lynne-m-thomas-wins-second-hugo-award/)

Paul Booth
Paul Booth is an assistant professor of Digital Communication and Media Arts in the College of Communication. He is the author of Digital Fandom: New Media Studies, which examines fans of cult television programs. He has also published articles in Communication Studies, Transformative Works and Culture, Television and New Media, Critical Studies in Media Communication, New Media and Culture, and in the books Transgression 2.0, American Remakes of British Television, and Battlestar Galactica and Philosophy. His newest book, Time on TV: Temporal Displacement and Mashup Television, was published in May, 2012. Paul is currently editing a book collection about Doctor Who fandom and has been a Doctor Who fan since he can remember.

For more information on the day-long Doctor Who symposium, please visit the event page, and be sure to note that you’ll be attending.

http://events.depaul.edu/event/a_celebration_of_doctor_who#.URu7IqVkhY5

https://www.facebook.com/events/158556054301429/

Dr Who May 2013 - Draft 5

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WebCite, The Online Citation Tool, Needs Help

March 28, 2013

WebCite, a non-profit tool used by some fan cultures and communities is asking for help in order to raise development funds, or it will close during 2013.

The online citation tool is often used to create back up links for “at risk” pages that are being cited, allowing users to take snap-shots for these online citations and access them at a later date.

This is the page about their campaign: https://fundrazr.com/campaigns/aQMp7

and here is some general information about the tool:
http://www.webcitation.org/faq

Please help publicise this campaign if you can!

(Thanks to Morgan Dawn for this information).

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CFP: The Women of James Bond: Critical Perspectives on Feminism and Femininity in the Bond Franchise

March 28, 2013

Editor:             Lisa Funnell, Ph.D., University of Oklahoma, lfunnell@ou.edu

The release of Skyfall in 2012 marked the 50th anniversary of the James Bond film franchise. The 23rd film in the series, Skyfall earned over one billion dollars (USD) in the worldwide box-office and won two Academy Awards (Best Sound Editing and Best Song). Amidst such popular and critical acclaim, many have questioned the representation of women in the film, viewing Skyfall in relation to the Bond film franchise at large. From the representation of an aging and disempowered M, to the limited role of the Bond Girl, to the characterization of Miss Moneypenny as a defunct field agent, Skyfall arguably develops the legacy of James Bond at the expense of women in the film. While the character of James Bond has historically been defined by his relationship with women (and particularly through heterosexual romantic conquest) and the franchise has long been accused of being sexist (among other things), the treatment of women in Skyfall recalls the media-driven backlash against feminist gains in the 1970s, which impacted the representation of women in the series—with the disempowering of female villains and the domestication of the Bond Girl. Since the prequel Casino Royale (2006) and its sequels Quantum of Solace (2008) and Skyfall (2012) constitute a rebooting of the franchise, it leads many scholars, like myself, to question if there is a place for women in the new world of James Bond and, if so, what role will these women play in the future of series?

This book seeks to answer these questions by examining the role that women have historically played in the Bond franchise, which greatly contributed to the international success of its films. This collection constitutes the first book-length academic study of the women of James Bond that moves beyond the discussion of a single character type (such as the Bond Girl) or group of films (such as the Connery era). This anthology will redress this critical oversight by providing a comprehensive examination of feminism and femininity in the Bond franchise. It not only focuses on the representation of women on screen (via casting, characterization, and aspects of stardom), but also includes a consideration of the role women have played in producing and marketing the franchise, female fandom and spectatorship, female scholarship on the franchise, and the widespread influence of the Bond series on the representation of female characters in other (non-Bond) films. This collection will offer a timely and retrospective look at the franchise, in light of the 50 year anniversary of the series, and provide new scholarly perspectives on the subject.

 Proposals are welcomed on the following topics:

i) Female Representation

  • ·       key characters/character types (Bond Girl, Bad Girl, M, Moneypenny)
  • ·       close readings of specific films
  • ·       trends in casting and characterization (between eras/phases of Bond)
  • ·       response of the films to different waves of feminism
  • ·       other women (e.g. opening credit sequence, secondary characters, movie posters)

ii) Women Producing/Marketing Bond

  • ·       the influence of Barbara Broccoli and other creative personnel
  • ·       musicians lending their voices and star power to the films (i.e. the musical “Bond Girls”)

iii) Female Fandom and Spectatorship

  • ·       reception studies of female spectatorship
  • ·       examination of the female pleasures in watching Bond

iv) Female Scholarship on Bond

  • ·       the ease/struggle in studying Bond
  • ·       the perception of female scholars in this field of study
  • ·       teaching and writing on Bond from a female perspective

v) Influence of the Bond Films on Women in Other Films

  • ·       the Bond Girl character type (e.g. True Lies)
  • ·       James Bond (e.g. Lady Bond films in Hong Kong)
  • ·       parodies/plays of the Bond films (e.g. Austin Powers, Agent Cody Banks)

Please send a 500-word abstract (with bibliography and filmography) and an author bio as email attachments by May 15, 2013 to Lisa Funnell lfunnell@ou.edu  

——————————————————————————–

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Call for Papers: Joss Whedon’s Firefly

March 27, 2013

Michael Goodrum (Essex) and Philip Smith (Loughborough)

It has been ten years since Joss Whedon’s Firefly (2002-3) was first screened. Although narrative covered only one season and a film, the series has enjoyed a long afterlife through comic books, a roleplaying game, and the fan community. Despite the continued interest in, and development of, the series, Firefly remains relatively unexplored in academic literature, particularly when compared to the critical attention directed towards Whedon’s earlier series, Buffy, the Vampire Slayer (1997-2003).

This volume, comprising of 12 essays, to be published by Scarecrow Press, seeks to address this imbalance. We are looking for 5,000-7,000 word contributions which fall into one of the following broad areas:

Politics

Race

Class

Agency

Preference will be given to proposals which satisfy one or more of the following criteria:

Contributions which are prepared to challenge, as well as celebrate, Firefly. Consider Firefly in light of the controversy over the casting of Avatar: The Last Airbender (2010), for example. How should we read a series with an abundance of Chinoiserie and very few (if any) Asian actors? How does the uncomplicated, humorous and stylized violence of Firefly and Serenity relate to the high instance of gun violence in the US and the very real violence of American military action overseas?

Contributions which examine Firefly alongside other texts. How does Firefly‘s Western/Sci-Fi multicultural landscape compare to the Noir/Sci-Fi multicultural city shown in Blade Runner (1982)? How does the portrayal of Asian cultures compare to that shown in Avatar: The Last Airbender? How does the relationship between the Browncoats and the Alliance compare to the Empire and the Rebels in Star Wars?

Contributions which include a consideration of Firefly and Serenity’s afterlife. How have the comics, roleplaying game and fan-made expansions of the universe changed the series? How have the creators used their respective mediums?

Contributions which show an awareness of existing Firefly scholarship. How does your work relate to the papers inInvestigating Firefly and Serenity (2008) and to Christina Rowley’s work on gender in Firefly? What are the limits of the existing scholarship?

Willingness to apply theoretical concepts. Contributions should be prepared to mobilise theory in their approaches toFirefly, particularly if dealing with agency.

Willingness to situate Firefly in a broader historical context. How does Firefly engage with prevalent themes in both US history and the history of international relations?

300-500 word proposals should be sent to mgoodr@essex.ac.uk by May 1st 2013. Proposals should include the author’s email address and affiliation. Full papers will be expected by September 1st 2013.

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CFP: Time Travel in the Media edited collection

March 23, 2013

We are currently seeking chapter proposals for the first collection of essay to address time travel across different media formats. The collection, to be be published by McFarland, will be edited by Joan Ormrod (Manchester Metropolitan University) and Matthew Jones (UCL).

Time travel has been a topic that has fascinated the media since the 19th century. Indeed, cinema has used flashbacks and montage since its earliest days to experiment with time. However, film is not the only medium fascinated by the concept. Television series such as Doctor Who (1963-1989, 1996 and 2005-present), Quantum Leap (1989-1993), The Time Tunnel (1966-1967) and Torchwood (2006-2011) explore history and play with notions of time as a social construct. Video games, manga and animé also examine time travel’s unique narrative possibilities, for instance in The Legend of Zelda: The Ocarina of Time (1998) or Final Fantasy XIII-2 (2011). Graphic novels such as Watchmen (1986-1987) and superhero narratives use time travel to explore heroes’ ingenuity and the problems created by paradoxes.

Time travel narratives have invoked socio-historic concerns for subjectivity, narrativity, history, the future and potential apocalypse. The future and the past are frequently depicted as a means of understanding the problems of the present. Lately, time travel narratives have used philosophical issues based on scientific theories such as string theory, multiple universes and the philosophical construction of time. Contemporary time travel stories also acknowledge the potential for experimentation in media narratives. Such diversity surely requires more scrutiny in academic discourse. This collection of essays will be the first dedicated solely to the topic.

The collection is aimed at:

• undergraduate and postgraduate students in film and media, cultural studies, philosophy, social sciences, history and science programmes.

• science fiction and fantasy fandoms across a range of media.

The volume will address a broad range of media, including television, cinema, video games, anime and manga, comics and graphic novels and radio plays. It will be divided into five sections addressing narrative and media form, time travel as genre, philosophical and theoretical concepts, time and culture and a number of case studies

We are currently inviting 500-word proposals for 5000-7000 word chapters. These might address, but need not be limited to, the following topics:

• Adaptation and the differences between time in media forms
• Parallel worlds/alternative realities in virtual media, gaming and avatars
• Narrative devices such as the causal time loop
• Cinematic and media apparatus as time machine
• Experimental and avant garde depictions of time and time travel
• Narrative tropes
• Key characters – H. G. Wells, The Doctor, Sam Becket, Marty McFly
• Iconography – the time travel machine, distinguishing the past/future from the present
• The adaptability of the time travel narrative to many genres – science fiction, fantasy, romance, teenpics
• The depiction of history and historical characters
• The rules and regulations of time travel and parallel worlds
• The experience and means of time travel (machine, magic, supernatural)
• Use of specific theoretical models of narrative interrogation, such as psychoanalytic, carnivalesque, discursive, Deleuzian, Ricoeur, Bergson, postmodern and semiotic perspectives or new theoretical contexts
• Philosophical considerations, such as free will and determinism, religious and ritualistic perspectives
• String theory and parallel universes
• Socio-historic notions of time (linear time, cyclical time, the Enlightenment and the mythic)
• Tourism – cosmopolitanism, the flâneur
• Time-travel narratives within the context of their socio-historic production
• Case studies which examine a specific aspect of time travel in one text.

Proposals along with a 50 word biography should be sent to timetravelcollection@gmail.com

Deadline: 16 June 2013

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