Archive for the ‘CFP’ Category

CFP: “Football, Politics and Popular Culture”: 2017 Annual Conference of The Football Collective 

May 9, 2017

‘The Football Collective’ is a dedicated International network of over 200 academics and practitioners across a range of disciplines (Sociology, Business Management, Economics and Finance, Political
Science, Gender Studies, History, Social Media and Fan Studies, Corporate Governance, Musicology etc). Through sharp analysis and research it has provided a platform for thought provoking critical debate in football studies. 



Football has always been political. For example, on 13th May 1990, just weeks after parties favouring Croatian independence had won the majority of votes in an election, a riot between the fans of
Dinamo Zagreb and Red Star Belgrade marked a game in the Maksimir Stadium. Zvonimir Boban, the Zagreb captain and future AC Milan star kicked a police officer who had allegedly been mistreating Croatian fans. Some argue that this moment marked the end of Yugoslavia,
with a devastating Civil War following soon afterwards and many of the protagonists on that day swapping the terraces for the front lines. 




The bodies of clubs, players and fans are enmeshed with politics. Clubs have been born as a result of population upheavals and migration; have been associated with ethno-national and religious communities,
and political ideologies and parties to name but a few. In the contemporary context, football continues to be tied to political events and symbols. The ongoing movement of people into Europe has witnessed voices raised by football supporters both in support
of and opposition to migration. Racism and anti-racism practices play out on and off the pitch. Broader contemporary international political controversies such as the prohibition of the flag of the Palestinian State, the wearing of symbols such as the British
poppy or the commemoration of Irish Independence continue to spark controversy among player and fan communities alike.




Football also manifests at times in artefacts of music and broader popular culture. Football chants for example are a sophisticated socio-political activity, which connect to early forms of communication
where humans used music, chant, and dance to bond as social groups. ‘Performance’ also has a unique ability to make difference visible and audible, and songs in particular have been shown to have powerful agency in the negotiation of ‘Self’ and ‘Other’. 




We invite you to join us at the University of Limerick, on Thursday and Friday 23rd – 24th November 2017 for the Annual Conference of The Football Collective which is organized in association with
the Popular Music and Popular Culture Research Cluster @UL. “Football, Politics and Popular Culture” will bring together interdisciplinary football researchers, academics and students to share research findings, interests, stories, and methods, in order to
develop better research and collaboration across the Collective. We will also host guests from outside of the academy. In this conference, we therefore particularly welcome papers that address (but are not limited to) football and the following: 




• Migration

• Racism

• Islamophobia/anti-Muslim racism

• Ethno-national formation

• Conflict (Ethno-national, Ideological, Sectarian etc.)

• Sectarianism

• Identities

• Class politics

• Gender and Sexualities

• Fan culture 

• Political songs / chants

• Its representation in popular culture (including film and literature)



The conference is designed to offer opportunities for all to present research, research ideas, potential projects, and innovative methods of data collection or public engagement. Thus it aims to discuss
research that (a) has been undertaken, to share findings and gain insight and feedback on data analysis, representation, and potential outputs (b) is being proposed as a potential option for the Collective group to understand an existing issue or (c) has been
published, to share findings and discuss future research needs. Please submit a Word document containing your paper title, a 250 word abstract, and author information including full name, institutional affiliation, email address, and a 50-word bio to footballconference2017@ul.ie
by 6th September 2017. A maximum of 20 minutes will be allocated to each conference paper. Panel proposals (three presenters – 60 minutes) should include a 150 word overview and 250 word individual abstracts (plus author information listed above). We also
welcome proposals for workshops, film screenings, performances etc. We particularly encourage submissions from PhD scholars and early career researchers. Notifications regarding acceptance will be sent by 15th September 2017.




Conference Conveners:

Dr. James Carr, Dept. of Sociology, University of Limerick.

Dr. Martin Power, Dept. of Sociology, University of Limerick.

Dr Stephen Millar, Popular Music & Popular Culture Research Cluster, University of Limerick.



For further information please contact: footballconference2017@ul.ie

CFP: Affective Politics of Social Media

May 9, 2017

University of Turku

12–13 October, 2017

Confirmed keynote speakers: Crystal Abidin (Jönköping University / Curtin University), Kath Albury (Swinburne University of Technology), Nancy Baym (Microsoft Research New England) and Ben Light (University of Salford)

From clickbaits to fake news, heated Facebook exchanges, viral Twitter messages and Tinder swipes, the landscape of social media is rife with affective intensities of varying speeds and lengths. Affect, as the capacity to relate, impress and be impressed, creates dynamic connections between human and nonhuman bodies. Zooming in on these connections, their intensities, rhythms, and trajectories in the context of networked communications,Affective Politics of Social Media asks how affect circulates, generates value, fuels political action, feeds conflict and reconfigures the categories of gender, sexuality and race through and across social media platforms.

Multiple analytical avenues have already been laid out for doing this, from Jodi Dean’s examination of affect and drive to Tarleton Gillespie’s analysis of the politics of platforms, Adi Kuntsman’s examination of “webs of hate” and Zizi Papacharissi’s discussion of affective publics as contagious articulations of feeling that bring forth more or less temporary sense of community and connection. Building on a growing body of work on “networked affect”, this two-day symposium features keynotes exploring the affective labour of social media influencers, the automation and quantification of the intimate, the netiquette of hook-up apps and the dynamics of music stardom and fandom, and invites contributions connected to affect and social media in relation to

  • collective action and political activism
  • sexual cultures and practices
  • harassment, hate and resistance
  • affective rhythms, intensities and investments
  • popular culture and everyday life

In order to facilitate participation, the symposium has no registration fee but pre-registrations are required. To propose a paper, please send a 300-word abstract and short bio (max. 100 words) toaffective@utu.fi by June 9, 2017. Registrations will be made available in August 2017.

Organized by Department of Media Studies, IIPC, the International Institute for Popular Culture & DIGIN, Research Network on Digital Interaction at University of Turku and the Department of Gender Studies at Åbo Akademi University.

Organizing group: Susanna Paasonen, Kaisu Hynnä, Katariina Kyrölä, Mari Lehto, Mari Pajala & Valo Vähäpassi

CFP: The Soundtrack Album: Listening to Media

May 7, 2017

We invite new work that will deepen and expand the discourse about soundtrack albums. The soundtrack album endures across decades, formats (vinyl, 8-track, cassette, compact disc), and delivery systems (radio, physical media, online, streaming services). Perhaps the most obvious, and yet under-examined, media paratexts, soundtrack albums have never simply promoted a Broadway show, film, television program, video game, comic book, or recording artist. Rather, they directly shape our understanding, enjoyment, and criticism of the media texts they accompany. Soundtrack albums are themselves complex media texts whose production and reception require careful analysis. Several academic presses have expressed strong interest this project.

We seek a global address of soundtrack albums and contributions from a multi-disciplinary slate of authors, including children’s media scholars, musicologists, sound studies scholars, and media industry scholars. Authors are invited to consider the history of soundtrack albums, and how artists, industries and listeners continue to use, define, and create such audio material. Suggested topics include (but are not limited to):

  • Albums for books, broadway shows, and media beyond film and TV
  • Soundtrack albums in global contexts such as Indian filmi records
  • Disney and other children’s media albums
  • Sequel soundtrack albums such as More Dirty Dancing
  • The history of soundtrack album sales and promotion
  • Works such as Judgment Night where the film “creates” new audio texts
  • Fan-made (“unofficial”) soundtrack albums
  • Albums featuring music “inspired” by the film
  • Audio material that invites audiences to re-interpret (re-hear) audio-visual media
  • Soundtrack albums whose critical and/or financial success surpasses the film’s success
  • Albums for “concert” films such as Woodstock and Wattstax
  • Playlists, streaming audio services and emerging (re-)definitions of the soundtrack album
  • Cult soundtrack albums for cult and non-cult films
  • Synergy and cross-promotion between audio-visual texts and albums
  • “Curated” soundtrack albums by artists such as RZA and Trent Reznor
  • Soundtrack albums for imaginary films such as Barry Adamson’s Moss Side Story
  • Audio compiliations that include music from more than one film or TV program

For consideration, please provide a brief bio and 400-600 word proposal
via this Google form: http://bit.ly/soundtrackalbumproposal no later than August 1, 2017. Please contact Paul N. Reinsch (paul.n.reinsch@ttu.edu) or Laurel Westrup (lwestrup@humnet.ucla.edu) with any questions.

CFP: Backward Glances 2017: Mediating Resistance

May 6, 2017

The Screen Cultures Graduate Student Conference

Department of Radio/Television/Film, Northwestern University, Evanston, IL 

September 29 & 30, 2017

Keynote Speakers: Professors Mary Celeste Kearney and Kara Keeling

Submission Deadline: June 15, 2017

In our tumultuous political landscape of “fake news” and reality TV presidents, the urgency of critically engaged media scholarship has never been greater. At a time in which many are experiencing a sense of traumatic upheaval, such work has the potential not only to enlighten the workings of media in our present moment, but to trace the history of media’s relationship to movements of resistance, rebellion, and radical change.

To this end, the theme of this year’s Backward Glances, Northwestern’s biennial graduate student media and historiography conference, is Mediating Resistance. We invite scholars to explore the role of resistance in media as well as the role of media in resistance, in historical and contemporary contexts.

Resistance manifests in forms ranging from political and activist content to formal and aesthetic innovation. These multiple inflections of resistance inform a number of interrelated questions we aim to address: What role do media play in shifting norms, broadening access to discourse, or even overthrowing regimes? How have marginalized communities used media to resist violence or imagine alternative modes of being? Alternately, how have hegemonic institutions used media to instigate violence or impose constructions of reality? In what ways are media implicated in the deepening of cultural divisions and the forms of social or political resistance they engender? As scholars, how might we engage resistant methodologies? What constitutes a “resistant reading” of a media text? What types of formal or aesthetic innovations resist norms of media-making or media consumption?

Further topics may include, but are not limited to:

  • Alternative archives

  • Media literacy and pedagogy

  • (Re)appropriation of media texts

  • Resistant spectatorship practices

  • Feminist, queer, and transgender media

  • Racial difference, racialized identities, and racism

  • Avant-garde movements

  • Postcolonial, revolutionary, and state media

  • Protest music

  • Taste and respectability politics

  • Circuit-bending

  • Affect and embodiment

  • Conspiracy theories

  • Media activism/hacktivism/slacktivism

  • Political campaigns

  • Crowdfunding, crowdsourcing

We invite scholarship from a broad range of disciplinary approaches, such as gender and sexuality studies; critical race studies; game studies; new media studies; postcolonial studies; comparative literature; historiography; film and television studies; disability studies; communications; and performance studies. Northwestern faculty will serve as respondents for graduate student panels.

Our keynote speakers will be Mary Celeste Kearney and Kara Keeling. Professor Kearney is Associate Professor of Film, Television, and Theatre and Director of the Gender Studies Program at the University of Notre Dame. Her research focuses primarily on gender, youth, and media culture. She is the author of Girls Make Media, as well as editor of The Gender and Media Reader and Mediated Girlhoods: New Explorations of Girls’ Media Culture. Her most recent book, Gender and Rock, will be published in August 2017 by Oxford University Press. She is currently completing research for her second monograph, Making Their Debut: Teenage Girls and the Teen-Girl Entertainment Market, 1938-1966. Her essay, “Sparkle: Luminosity and Post-Girl Power Media,” (Continuum 29.2) won the 2016 Katherine Singer Kovács Essay Award from the Society for Cinema and Media Studies.

Professor Keeling is Associate Professor of Cinema and Media Studies in the School of Cinematic Arts and of American Studies and Ethnicity at the University of Southern California. Keeling works in the areas of Film and Media Studies, Black Studies, Women’s and Gender Studies, Critical Theory, and Cultural Studies. Keeling’s book, The Witch’s Flight: The Cinematic, the Black Femme, and the Image of Common Sense, explores the role of cinematic images in the construction and maintenance of hegemonic conceptions of the world and interrogates the complex relationships between cinematic visibility, exploitation, and the labor required to create and maintain alternative organizations of social life. Keeling is co-editor (with Josh Kun) of Sound Clash: Listening to American Studies and (with Colin MacCabe and Cornel West) of a selection of writings by the late James A. Snead entitled European Pedigrees/ African Contagions: Racist Traces and Other Writing. Keeling’s most recent book manuscript, tentatively entitled Queer Times, Black Futures, is under contract with New York University Press.

Please send an abstract (up to 300 words) to backwardglancesconference@gmail.com by June 15, 2017. Participants will be notified by mid-July. More information about the conference can be found at www.backwardglancesconference.wordpress.com.

CFP: UCLA’s Mediascape – On Technology and Media

May 6, 2017

Deadline for submissions: June 30, 2017

The last decade has witnessed a transformation in electronic visual media. Film, television, video games and user- generated- content (UGC) are increasingly commingling. This has facilitated significant changes in the traditional models of production and consumption, leading to new practices and relationships as divergent production communities operate together.

The META section of Mediascape is looking for essays and/or video essay submissions related to Film Technology. This may relate to topics of production or exhibition, with a focus upon how advances in technology have altered longstanding practices and philosophies related to media creation as well as introducing new capabilities. This might also include the effect that the introduction of new technologies has had on narrative and form. Cinema, Television, Video Games and other forms of digital media.

Possible topics include but are not limited to:

-The current age of the professionally produced fan film as well as its increasing convergence (and potential conflict) with commercial media.

-The increasing use of computer generated imagery in creating increasingly detailed and temporally transcendent works. An example of this would be the digital inclusion of Peter Cushing and a young Carrie Fisher in Star Wars: Rogue One (2016).

-There is an ever-increasing requirement for production personnel at all levels to document their professional creative work on social media. How has this new reality based upon the need for self- promotion through the conjunction of frequently marginal employment changed production practices from the standpoint of the practitioner?

-The strategies of streaming video services, such as algorithms and real time customer data for choosing projects for internal production as they seek to cultivate their own IP.  

-How the prevalence of increasingly high quality cameras in smartphones together with networked social media platforms has changed the documentary form towards a more egalitarian structure.

The META section encourages the use of video essay or other digital media, but this is not a requirement. Submissions should be in the range of 1,000 to 3,000 words.

If you have questions about META submissions, or wish to submit a paper or project for consideration, please contact Josias Troyer at Mediascape.Meta@gmail.com with the subject header “Mediascape” META” by June 30, 2017.

CFP: Violent Feelings: Affective Intensities in Literature, Film and Culture

May 6, 2017

Deadline for submissions: December 31, 2017

From the cruel optimism of neoliberalism to the rise of white nationalism to the almost daily reminders of the precariousness of life—especially the lives of those who are othered through race, class and gender—contemporary events show the necessity of studying representations of violent feelings. While “violence” is often evoked as a metaphor for affective exchange, theories of feeling as violence and of violence as feeling remain implicit in the criticism of both violence and feeling. This special issue of LIT: Literature Interpretation Theory seeks essays that examine the relationship between violence and feeling explicitly, in order to raise new questions about emotion, embodiment, and representation.

The essays sought for this special issue seize on violent feeling as a productive avenue for further propelling and complicating the “affective turn” in literary studies. We seek essays that position themselves at the intersection of prevailing understandings of affect and violence, and explore the undertheorized ground of violent feelings in ways that affect theory has not yet fully elucidated.

Essays may explore representations of violent feelings and:

– Race, class, gender, disability

– Theories of disgust, rage, shock

– Genre, narrative or discourse (e.g. terror, horror, pornography)

– Polyvalent intensities (agitation, mourning, hysteria, anger, outrage)

– Other forms of violence (structural violence, state violence, slow violence, sexual violence)

– Brexit, the 2016 US Presidential Election, or other current events of note

LIT: Literature Interpretation Theory publishes critical essays that employ engaging, coherent theoretical perspectives and provide original, close readings of texts. Submissions must use MLA citation style and should range in length from 5,000-9,000 words in length. Please direct any questions relating to this cfp to the guest co-editor, Douglas Dowland; d-dowland@onu.edu. Submissions should be emailed to litjourn@yahoo.com (please include your contact information and a 100-200 word abstract in the body of your email). LIT: Literature Interpretation Theory also welcomes submissions for general issues.

Guest Editors: Douglas Dowland, Ohio Northern University and Anna Ioanes, Georgia Institute of Technology

Editors: Dwight Codr and Tara Harney-Mahajan

CFP: The British Isles in the Mind’s Eye: Literary Tourism and “Real” History

May 6, 2017

Deadline for submissions: September 1, 2017

What are the relationships among history, fiction, and tourism? Contributions are solicited for a collection of essays that will map the boundaries of and intersections among these discourses of “place” and its significance, with an emphasis on literary tourism and the British Isles. Essays may be weighted towards the theoretical or may be focused on studies of individual historical sites or literary authors; they may approach the subject from the disciplinary perspectives of anthropology, cultural studies, literary history, or history. Potential subjects of interest include historicality, historicity, and historical fiction; the influence of popular fiction and film on British tourism or on the marketing of historical sites to the literary tourist; the (re)creation of history in fiction and film; and the impact of tourism on historical curation.

Lexington Books, an imprint of Rowman & Littlefield, is inviting a proposal for this project. Send 500-word abstracts and one-page CVs as Word documents to the editor, LuAnn McCracken Fletcher (lmfletch@cedarcrest.edu), by 1 September 2017. Accepted abstracts will be included in the proposal to the press, with completed manuscripts needed by 1 June 2018.

CFP: Musicals at the Margins

May 6, 2017

Deadline for submissions: July 17, 2017

While the musical for much of its existence has had a relatively ‘strong’ generic identity, the genre’s central semantic element, the musical number, is also widespread in films not understood to be musicals. Generic transformations since the late 1970s, as well as technological, cultural, and industrial change, have produced greater instability in our collective understanding of what a musical is. Recent research has focused on the song in film (e.g. Dyer 2011; Spring 2013)or on musical moments (Conrich and Tincknell 2006), while recent scholarship on both the musical and on music and film in the context of the musical has begun to look beyond both the usual canonical texts and the genre’s usual identification with studio-era Hollywood (e.g. Kessler 2010; Creekmur and Mokdad 2012; Garcia 2014). Yet a narrowly-defined canon still dominates discussions of the musical as a genre and remains the basis of its most influential theorisations.

This collection of essays will focus on the genre’s unstable edges and the margins and boundaries of the musical as a genre, seeking to contribute to genre studies by investigating one particular case of the instability of a film genre and how genre can be contested at the levels of industry, text, and/or reception. Why are particular films marginalised in scholarship and public discourse? What is lost through a strong emphasis on the canon? And how do films that challenge established theorisations of the musical become confined to the boundaries of the genre?

We invite proposals for chapters approaching this topic from a range of angles, historical periods, and (inter)national contexts. We are interested in considering why certain films have been marginalised despite their evident commonalities with the genre’s canon, as well as what is at stake for films questioning, bending, or playing with the musical genre.

Possible topics may include, but are not limited to:

  • Boundary cases in various national cinemas, historical eras, industrial contexts
  • Films whose generic status have shifted over time
  • The core and the periphery of the musical
  • Sub-genres and cycles at the margins
  • Stars within these texts
  • Authors of boundary cases (directors, screenwriters, producers, music publishers, etc.)
  • How gender, sexuality, race, ethnicity impacts on the generic status of these films
  • The body and the edges of the musical
  • Promotion, publicity, and reception of films at the margins
  • Specific film studios or production companies
  • Analysis of cultural factors that impact on these marginal cases
  • Musicals marginalised in scholarship
  • Musicals in media beyond film (television, web series, etc.)
  • Animated films as musicals
  • Music films (jazz films, rock films, hip hop films, etc.)

Submission Guidelines:

Please submit your abstracts of no more than 500 words and a brief 100-word bio via email to both editors by Monday 17th July 2017. We have already had a positive initial response to this project from a highly respected academic publisher.  We anticipate that finished essays will be approximately 6000 words in length, including footnotes. Acceptance of proposals will be sent by email by the end of August 2017.

Please email your abstract and bio to both editors:

Dr Martha Shearer at marthashearer@gmail.com

Dr Julie Lobalzo Wright at j.wright.4@warwick.ac.uk

 

CFP: The Alt-Right in Popular Culture

May 6, 2017

Deadline for submissions: September 1, 2017

Over the past few years, a loosely defined group that has since come to be referred to as “the alt-right” began to receive increased attention and scrutiny in the American media. The group presents itself to the public as an alternative to the mainstream conservatism of the contemporary Republican Party, and is an amorphous mass of people, largely associated with Internet social media platforms. The alt-right appears to be motivated by white nationalism, antigovernment conspiracy theory, xenophobia, and an opposition to identity politics. Its existence is linked with news sites like Breitbart News, the white supremacist site American Renaissance, and the neo-Nazi site Daily Stormer (among others), and with movements like the Men’s Rights, neo-Nazi and anti-immigrant movements. In 2017, Donald Trump’s presidential election has arguably legitimized and further publicized alt-right figures and ideologies, most clearly demonstrated by the rise of Trump Aid Steve Bannon, former Breitbart chairman, to the White House. In this cultural moment, it is essential that scholars and thinkers of the contemporary begin critical explorations of the formation, influences and attitudes that comprise a cultural understanding of the alt-right and niche internet groups as a political and social phenomenon. Intrinsic to this study is the interrogation of various modes of toxic masculinities associated with these internet platforms and their popularization of both fascist and nihilistic political and social paradigms. This volume calls for full-length essays that will contribute to this interrogation. I plan to approach university presses with this volume, which will pioneer the serious study of the alt-right within the academy. This collection is the first of its kind.

Topics may include but are not limited to:

  • Alt-right leaders and their treatment in the media
  • The relationship between alt-right and nihilism
  • The alt-right and fascist iconography and influences
  • The alt-right and its growing antithesis, an emerging “alt-left”
  • The emergence of the alt-right and its forebears/predecessors
  • Media focus on figures like Milo Yiannapoulos/Richard Spencer
  • Literary/critical/philosophical influences on the alt-right
  • The alt-right and popular genres, specifically science fiction and fantasy
  • The alt-right and configurations of toxic masculinities
  • Artist pushback against alt-right groups/anti-fascist art installations and output
  • Street art (both alt-right & anti-fascist)
  • Commercial/mainstream response to alt-right ideologies

This collection will be interdisciplinary, and is open to scholars in Media Studies, Film Studies, Literary and Historical Studies, Women’s Studies, Queer Studies, Gender Studies, Philosophy, Cultural Studies, and beyond.

Please send an abstract (450-700 words) and a short bio to Katlyn Williams (katlyn-e-williams@uiowa.edu) by September 1st, 2017.

This volume will call for completed essays of 5,000-7,000 words by March 1st, 2018.

CFP: Transmediating the Whedonverse: An Edited Collection

May 6, 2017

Deadline for submissions: June 1, 2017

In the last two decades, scholarly attention to transmedia storytelling (TS) has increased dramatically. Approaches to the topic vary widely, ranging from a focus on the effects of TS on narratives and texts (Harvey, Mittell); explorations of paratexts, metatexts, intertexts, and pretexts (Gray, Clarke); and the increase in fan participation and agency with regard to narrative agency since the transmedia turn (Jenkins, Geraghty, Hills). More recently, scholars such as Raúl Rodríguez-Ferrándiz have returned to what might be considered the beginning, looking to Gerard Genette’s discussion of paratexts and building on Genette’s print-bound ideas with transmediated frames. This edited collection aims to open a conversation about the ways in which the extended Whedonverse crosses narrative platforms, combines authorial voices, and blurs the boundaries between and among issues of production, dissemination, and consumption.

Whedon stands as a transmedia icon. His role in advancing transmedial narratives includes media code switching from movies to TV to comic books to web texts as well as his tendency to encourage fan inclusion and agency. While not exhaustive, Whedon scholars have addressed transmedia activism (Cochran), authorial and audience agency (Hadas, Kociemba), semiotics (Beddows), hyperdiegsis (Buckman), and narrative destabilization (McCormick). Whedon scholars have placed their TS scholarship in various, broader edited collections and journals; however, Transmediating the Whedonverse seeks to advance these conversations while showcasing the extent of Whedon’s influence on TS.

The anticipated collection seeks to showcase a range of theoretical lenses and approaches to transmedial world-building, branding and franchising, and research including but not limited to feminism(s), posthumanism, new materialism(s), and speculative realism(s), in order to frame the significant conflicts and contributions of the meta- and paratextual Whedonverse. Successful proposals will explore the constructions of, complications with, and relations between and among narratives across media, possibly including effects on audience-consumers, creator-producer(s), and user-disseminators.

Key ideas this text aims to address include, but are not limited to the following:

  • Narrative conflicts and complications created by or resolved through transmediation
  • Production, dissemination, and consumption of transmediated materials
  • The relationship between creator-text-audience/producer-product-consumer
  • The impact of transmediation on Whedon scholarship and classroom pedagogies
  • Complications with real-world representations of creator, audience, and texts (i.e. social media, Save the Day, public appearances, speeches, etc.)
  • Fan-created content as narrative instantiation (i.e. mash-ups, wikis, fan fiction, etc.)

Editors Juliette Kitchens and Julie Hawk invite query letters and abstracts for proposed chapter-length original work (300-500 words); please send to transmedia.verse@gmail.com (subject line: Whedon Transmedia Collection) no later than June 1, 2017. Selected contributors will be notified by July 1, 2017.