Archive for the ‘CFP’ Category

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Intensities CFP: Fifty Shades of Grey (2015)

February 13, 2015

The cinematic release of Sam Taylor-Johnson’s Fifty Shades of Grey (2015) has already garnered speculation, derision and debate equal to its highly controversial source text, E. L. James’ homonymous trilogy. Its alignment with mass media, a predominantly female audience and mainstream cinema make it a concurrently anticipated and abhorred rich contemporary text. Intensities: The Journal of Cult Media thus invites papers which will interrogate this adaptation from a plethora of new perspectives including industry, text and reception analysis.

Focuses may include, but are not limited to:

* Adaptation Studies
* Audience Studies
* Comparative film analyses
* Criticism analyses
* Genre and Formalism
* Fans and Fan-Fiction
* Kink, BDSM and Sexual Politics
* Pornography Studies
* Publicity, promotion and paratexts
* Psychoanalytic textual analysis
* Queer Theory
* Social Networking and the Blogosphere
* Star Studies

Authors are expected to familiarise themselves both with the pre-existing literature on Fifty Shades, and with the submission guidelines available at:

Submission Guidelines

Considering the timeliness of this topic, the deadline for submissions of 6-8k papers accompanied by 250 word abstracts and 150 word bios is April 30th 2015 for publication this year. Submissions should be emailed to assistant editor Sarah Taylor-Harman at Sarah.Harman@brunel.ac.uk.
Inquiries and expressions of interest are also welcomed.

Intensities is a peer reviewed open access online journal. www.http://intensitiescultmedia.com

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CFP: Gendered Politics of Production: Girls and Women as Media Producers

February 13, 2015

June 16, 2015 at Middlesex University London

Keynote by Mary Celeste Kearney (University of Notre Dame, USA), author of Girls Make Media

Girls and women are arguably producing more media than ever before. As bloggers, vloggers and “tweeters”, filmmakers, television showrunners, web designers, game developers, and musicians – to name only a few – girls and women are active contributors to contemporary media production cultures. Yet, recent incidents such as Gamergate point to the continuous precarious positioning that girls and women occupy as both amateur and professional media producers within a context shaped by what Sarah Banet-Weiser (2015) has recently called “popular misogyny.” What is at stake for female media producers within this context? How do identities such as gender, race, class, age, sexuality, nationality, and ability shape one’s participation in production cultures? How are gendered neoliberal imperatives to be constantly productive informing who is producing media and what these media texts look like? And in what ways are girls and women mobilizing media production as an activist strategy to challenge sexism, racism, classism and other social inequalities across local, national, and international contexts?

We are seeking papers for a one-day symposium that aims to examine these questions and explore girls’ and women’s production of a wide range of commercial and alternative media texts.

Papers may address, but are not limited to, the following themes:

• Historical analysis of girls and women as media producers

• The production and circulation of feminist and activist media texts

• Gendered labour in media industries

• Methodological approaches to studying production cultures

• Relationship between gender, media production, and neoliberal entrepreneurship

• The politics of media production training programs

• Female media producers across global media networks

• Participation in digital media cultures

This one-day symposium, featuring a keynote lecture by Mary Celeste Kearney (University of Notre Dame, USA), will be held at Middlesex University in London UK on June 16, 2015. It will serve as an opportunity for discussion and networking for feminist media scholars focusing on production cultures prior to the Console-ing Passions Conference in Dublin from June 18 – 20. This event is organized as part of Middlesex University’s FemGenSex Research Network and the Media Department’s Gender and Sexuality Research Cluster.

Please submit abstracts of 250-words and a 50-word bio by March 15, 2015 to Jessalynn Keller (j.keller@mdx.ac.uk), Feona Attwood (f.attwood@mdx.ac.uk), and Mariam Kauser (m.kauser@mdx.ac.uk).

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#FSN2015 Conference

February 12, 2015

The 3rd annual FSN Conference took place at the University of East Anglia on 27-28th June 2015. Keynoted by Lincoln Geraghty (University of Portsmouth, UK) and Suzanne Scott (The University of Texas at Austin, USA), the event featured scholars from around the world presenting on many different aspects of fan studies. You can view the conference programme here.

The event was widely talked about on Twitter using the #FSN2015 hashtag. You can view an interactive, searchable archive of all the tweets sent during the event here.

We look forward to seeing you at FSN2016!

 

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CFP: JAWS 40th Anniversary Symposium, De Montfort University, Leicester, UK, 17 June 2015

February 10, 2015

Proposals for 20 minute papers are invited for a One-Day Symposium to mark the 40th Anniversary of Steven Spielberg’s JAWS.

The Symposium takes place on Wednesday 17 June 2015 from 10.00 – 6.00 in HA 0.08 at De Montfort University, Leicester, UK.

The Symposium is part of the Faculty of Technology Research Seminar Series and is hosted at the Leicester Media School by The Cinema and Television History (CATH) Research Centre and The Centre for Adaptations, De Montfort University, Leicester, UK.

Keynote speakers include Nigel Morris, author of Steven Spielberg: Empire of Light and editor of The Blackwell Companion to Steven Spielberg.

Brief proposals, biographies and a note of institutional affiliation should be sent to Professor Ian Hunter: iqhunter@dmu.ac.uk. The deadline for proposals is 31 March 2015.

Papers could be on *any* related topic such as but not restricted to:

Jaws – influences, production, interpretation, publicity, reception, reissues, video and DVD releases and extras.
Jaws 2, Jaws 3D and Jaws the Revenge
Peter Benchley
John Williams, Verna Fields, cast and crew
USS Indianapolis
Jawsploitation rip off films from Piranha and Grizzly to Great White, This Ain’t Jaws XXX and Bait / novels / comic strips / TV shows
Novelisations and adaptations
Video games and toys, memorabilia, collectables and collecting
Jaws and Spielberg / the New Hollywood / the modern blockbuster
Jaws fandom, memes and memories
Jaws and cult
Theme part rides
Jaws and sharks in myth, the media and wildlife documentaries
Jaws, sharks and ecology and shark conservation

The attendance fee will be £20 / £10.

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CFP Series Journal

February 6, 2015

We are pleased to invite submissions for the second issue of SERIES, a new international open access journal on TV serial narratives. The main focus of the journal is to promote a global discussion forum and an interdisciplinary exchange among scholars engaged in research into TV serial narratives. SERIES encourages methodological innovation in academic research, providing new contributions for a better understanding of the narrative, technological, economic, social and cultural impact of TV serial dramas. Articles should deal with television series, web series and/or telenovelas. According to that we will welcome submissions on every topic related to TV serial narratives for our second issue. 

In addition, a relevant issue at the moment seems to be the size of serial production that now more than ever have been so diverse and manifold. New broadcasters/producers and new forms of fruition are outlining a scenario in which the size of the series have become particularly important, also in determining the performance of the product in terms of ratings/advertising/sponsors/product placement, etc. Papers devoted to the study of this topic will be specially welcomed.

If you are interested in this call for papers, please send your full manuscript before June 30, 2015. The deadline for the editorial work (open and peer review process, editing and improvement of articles if needed, etc.) is September 30, 2015. Expected publication date of the issue: November 2015. 

For more information about the journal, please visit the website: http://seriesjournal.org

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CFP: ‘Symfrozium’: A study day on Frozen, University of East Anglia, Norwich, UK, 12 May 2015

February 5, 2015

‘Symfrozium’: A study day on Frozen (2013)
12th May 2015
University of East Anglia, Norwich, UK

Released in 2013, Frozen has become the most successful animated film of all time. Widely touted in popular discourse as Disney’s ‘first foray into feminism’ the film’s apparent privileging of female kinship over heterosexual romance has been seen as marking the film out from its precursors in the Disney ‘princess’ franchise. Whilst academic scholarship on Frozen will no doubt be forthcoming, such claims are yet to be subject to sustained interrogation. Indeed, whilst the film’s apparently unprecedented popularity and cultural impact has garnered significant attention in popular media discourse, the film’s significance for Film, Media, Cultural studies and beyond has yet to be visibly debated. Thus, this free one day event will offer the opportunity to take up this interrogation and to reflect upon the issues and questions raised by the film in the context of its significant cultural moment since 2013.

Topics may include – but are not limited to:

Representations of gender, sexuality, race and class
Critical reception
‘Queer’ readings
The role of the soundtrack, both textually and extra-textually
Merchandising and commodification
Marketing
Industrial context
Relationship to Disney princess precursors
Social media and audience uses
Fan communities
Girl culture
Circulation within ‘parent’ culture
Issues of adaptation (given that the film was loosely based on The Snow Queen [1844])
Negative responses to the ‘cultural assault’ of Frozen
Brozen

Abstracts of no more than 250 words should be emailed to either Su Holmes(susan.holmes@uea.ac.uk) or Sarah Godfrey (s.godfrey@uea.ac.uk) by Monday 9th March. Please include your institutional affiliation and brief bio. Questions welcome.

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CFP: POPCAANZ Conference, Wellington, New Zealand, 29 June – 1 July 2015

February 3, 2015

The Popular Culture Association of Australia and New Zealand

6th Annual International Conference June 29-July 1, 2015

Massey University Campus Wellington, New Zealand

CALL FOR PAPERS
Deadline for abstracts: March 1, 2015

Proposals for both panels and individual papers are now being accepted for all aspects of Fan Culture including, but not limited to, the following areas:
•Fan Fiction

•Fan/Creator interaction

•Race, Gender and Sexuality in Fandom

•Music Fandom

•Reality Television Fandom

•The Internet and Fandom

•Fan Communities

•Fan Media Production

•Fans as Critics

•Cosplay

•Fan crafts

•Fan pilgrimages

We invite academics, professionals, cultural practitioners and those with a scholarly interest in popular culture, to send a 150 word abstract and 100 word bio to Katherine Larsen at fandom@popcaanz.com.
Panel proposals should include one abstract of 200 words describing the panel,
accompanied by the abstracts (250 words) of the individual papers that comprise the panel.  Graduate students are encouraged to submit proposals.

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CFP: ECREA TV Studies Section MAB Joint Conference

January 31, 2015

TV in the age of transnationalisation and transmedialisation: a two-day, international conference

Date: Monday 22nd and Tuesday 23rd JUNE 2015

Venue: University of Roehampton, London, UK

Organisers: ECREA Television Studies section and the Media Across Borders network (www.mediaacrossborders.com)

Television is crossing borders in multiple ways. Throughout much of the 20th century it seemed to resemble the geometrical elements of a Kandinsky painting from the Bauhaus phase: each element clearly distinct but overlapping and carefully positioned in relation to other elements. Television was perceived and studied similarly; mostly separate from the other mass media, including film, radio, video games or consumer magazines. Moreover, in Europe television content was clearly separated from advertising through the distinction, or separation principle. In addition to these distinct media elements, state borders clearly separated television markets in the perception of academics, audiences and TV executives. After all, television was mostly conceived and regulated by state institutions and predominately broadcast and consumed within state borders. Cross-border production and trade in television programmes were consequently viewed as international; organised between national institutions and companies. But gradual and ongoing transnationalisation and transmedialisation are making the neat geometrical forms more and more permeable, manifold and unsteady. Kokoschka’s style of painting, blurred and blended, seems a more appropriate metaphor to describe today’s television-scapes. This conference offers a space to reflect on the changes pertaining to the processes and workings of transmedialisation and transnationalisation, and on the theoretical and methodological consequences this has for television studies. It also offers opportunities for networking.

Papers are invited on topics related to television’s transnationalisation and transmedialisation, including:
• Transnational and international production and distribution of TV programmes
• Transmedia/cross-media storytelling (with global examples particularly welcome)
• The trade in TV Formats
• Adaptations and remakes of international franchises
• Localization of television and related content at the textual and paratextual levels
• Dubbing, subtitling and re-versioning of television content
• Marketing and branding of global (trans)media franchises
• Global television aesthetics
• Transnational television consumption and reception
• Professional negotiations of internationalisation, transnationalisation and localisation
• Organisational relationships and trends in a transmedialising/transnationalising media environment
• Attempts to re-conceptualise television and television markets
• Theoretical reflections on the international, transnational, global, national and/or local
• Methodological reflections: researching television in the age of transnationalisation and transmedialisation

Plenary speakers
Liz Evans (University of Nottingham)

Giselinde Kuipers (University of Amsterdam)

Industry panel to be confirmed but will include Senior TV Executives from BBC Worldwide, Channel 4, FremantleMedia, HBO Europe, Media Xchange, Northern Europe and 360 Degree, Shine International and/or Warner Bros.

Information/details
Submit your max. 300 word abstract along with institutional affiliation and a short bio (max. 150 words), or a panel proposal (minimum 3 speakers, 300 words rationale plus 300 words per paper, relating them to the focus of the conference to Lothar Mikos (l.mikos@hff-potsdam.de) and Andrea Esser (a.esser@roehampton.ac.uk) by March 9, 2015.

Decisions on abstracts will be communicated by 6th April 2015.

The conference fee for ECREA and MAB members is £95 waged (approx. 127 euro/$144; £45 unwaged/student (approx. 60 euro/$68/); for non-members it is £110 waged (approx. 147 euro/$167 and £55 unwaged/student (approx. 72 euro/$83/). The fee includes lunch and refreshments for both days and a drinks reception.

Conference papers on TV Formats will be considered for a special issue on ‘Trade in TV Formats’, for VIEW: Journal of European Television History and Culture (http://journal.euscreen.eu/index.php/view) for publication in June 2016. The issue is jointly edited by John Ellis (Royal Holloway/University of London), Andrea Esser (University of Roehampton, London) and Juan Francisco Gutiérrez Lozano (University of Málaga/Spain).

The conference is hosted by the University of Roehampton’s Centre for Research in Film and Audiovisual Cultures (CRFAC) in the Department of Media, Culture & Language.

Please direct any academic queries to Dr. Andrea Esser (a.esser@roehampton.ac.uk), other queries to Julia Noyce on julia.noyce@roehampton.ac.uk or 0208 392 3698.

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CFP: Twenty-First Century TV: Television in the Digital Era Postgraduate Conference, University of Northampton, UK, 12 May 2015

January 29, 2015

Twenty-First Century TV: Television in the Digital Era
Postgraduate Conference
12 May 2015
The University of Northampton

This one day conference aims to bring together postgraduate students working on all aspects of television in the digital, or post-digital, age. Television today can be online, on demand, downloaded, streamed, live, timeshifted, watched on multiple screens across multiple platforms. Producing and consuming television might involve games, apps, extended narratives, social media and a range of ancillary products. Have recent changes in technology radically transformed TV, or do traditional means of making and watching TV still persist?

Proposals are invited on (but not limited to) the following topics:

· Overflow and paratexts

· Online content

· User-generated content

· Social media

· Red button

· Regional and local TV

· International TV

· Branding

· Authorship, collaboration

· Marketing

· Advertising

· Platforms and delivery

· Multi screening

· Time shifting and recording

· Archiving

· HD, 3D

· CGI, special effects

· Production, consumption

· Communities, audiences, fans

We welcome contributions from students registered on any postgraduate degree, and perspectives are invited from different disciplines.

Please send proposals (250 words) for 20 minute papers plus a brief biography (100 words) to Lorna Jowett and Michael Starr by 12 March 2015: TVCultures@northampton.ac.uk
Website: http://www.culttvonline.com/workshop-events/

The Cult TV: TV Cultures Network is funded by the Arts & Humanities Research Council (AHRC) as part of the Digital Transformations in the Arts and Humanities theme and is affiliated with the Centre for Contemporary Narrative and Cultural Theory (CCN&CT) in the School of the Arts at the University of Northampton.

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CFP: Transmediality in Modern Popular Culture, Poland, 18-20 June 2015

January 29, 2015

Transmediality in Modern Popular Culture – Call for Submissions

The 9th Annual Conference of NECS – European Network of Cinema and Media Studies (www.necs.org) will take place in Łódź (Poland) on 18-20 June 2015. In reference to one of the conference’s sub-themes “The archive of popular culture” a workshop on the history of transmediality in modern popular culture will be held. It will focus on the exploration of cross-media business synergies in the entertainment industry and on the history of media convergence in the 19th and the first half of the 20th century popular culture.

The workshop will consist of two parts:

· 17 June: a preconference with a keynote lecture (Dr. Matthew Freeman, Birmingham City University) and a seminar

· 18-20 June: a set of dedicated panels during the NECS conference

SCOPE
Media convergence is one of the widely debated concepts in contemporary media research. As conceptualised by Henry Jenkins, convergence manifests itself i.e. in transmedia storytelling (Jenkins, 2006: 334). The investigation of transmediality, however, most often concentrates on contemporary networked digital media. As concerns the historical research of popular culture, transmediality is limitedly explored (however not entirely unexamined). Yet that kind of cross-textual practices can be traced as early as the modern culture industry came into existence. For example, according to Matthew Freeman, at the beginning of the 20th century in the USA we can find examples of “cross-textual self-promotion and cross-media branding (…), grounded in such cultural factors as turn-of-the-century immigration, new forms of mass media – such as, most notably, newspapers, comic strips, and magazines – and consumerism and other related textual activities” (2014: 2).

Therefore, we would like to explore the transmedial dimension of pop culture in the 19th and the first half of the 20th century. How did motives, characters, narratives circulate between various media platforms and cultural circuits? What was the transmedial dimension of the emerging global culture industry? How did mediatization processes impact on local practices (especially in the peripheral media environments)?

POSSIBLE TOPICS
Going beyond traditional notions of adaptation, remediation and intermediality, we would like to reconsider dominant history of media in modernity and to examine the constitution of the transmedia dimension of culture industry and entertainment. We are interested in transmedia flows, business synergies and connections between different media and cultural spheres:

· literature

· radio

· cinema

· music

· stage (cabaret, revue, vaudeville, variété)

· popular press

· comic strips

· graphic design and advertisement

· modern art

Submission may include, but are not limited to, the following themes:

· circulation of texts, motives, etc. in the 19th and early 20th century (i.e. vaudeville and radio relations)

· business synergies between film, radio, press, phonographic industry, etc.

· local histories of the proliferation of the technical media (especially in the peripheral and semi-peripheral countries)

· relations between “transmedia” and theories of intertextuality, adaptation, etc.

· vernacular practices of media producers and audiences

· vernacular reception and grassroot practices of fans

Theoretical and historical contributions concerning all geographical areas before 1939 are welcomed.

SUBMISSIONS & DETAILS
Please address abstracts (max. 200 words) along with institutional affiliation and a short bio (max. 150 words) to: lukasz.biskupski@swps.edu.pl

Deadline for submission: 31.01.2015. Confirmation will follow shortly thereafter.
The workshop language is English.
Workshop attendance is free, but valid NECS-membership is required to participate, see: http://necs.org/user/register.

Organizers: Łukasz Biskupski (University of Social Sciences and Humanities SWPS in Warsaw), Mirosław Filiciak (University of Social Sciences and Humanities SWPS in Warsaw) and Michał Pabiś-Orzeszyna (University of Łódź).

ACKNOWLEDGEMENT
The organization of the workshop is supported by the Polish National Center for Science under Grant DEC-2012/07/E/HS2/03878.

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