Archive for the ‘Uncategorized’ Category

UPDATED CFP: Sex, Subversion and Bodily Boundaries: The Darker Side of Slash Fan Fiction

February 15, 2017

 

UPDATED CFP: Sex, Subversion and Bodily Boundaries: The Darker Side of Slash Fan Fiction

 

Proposals are invited for essays exploring the depiction of (and engagement with) “non-normative” eroticism within online slash and femslash fan fiction.

 

Following the publication of Hellekson and Busse’s groundbreaking edited collection Fan Fiction and Fan Communities in the Age of the Internet (2006), academic interest in slash fiction has continued to document the evolution and development of the genre as a whole. It is generally proposed that slash fiction enjoys a simultaneous intertextual function – partly a subversive cultural dialogue and partly an unapologetically playful approach to literary convention – but a function which is ultimately more complex and nuanced than a traditional incorporation/resistance paradigm would suggest. 


This collection aims to engage directly and explicitly with some of slash fiction’s less gentle aspects in order to explore the following question: in a text which not only deliberately creates but
 maintains unstable, unequal and ungentle paradigms, can the same critical frameworks that depict slash fiction as a valorised form of egalitarian romance still be applied? If a text refuses to moving towards the gradual equality and intimacy inherent within Romantic convention, can the ending only be an unhappy one?
This collection of essays aims to supplement existing fan academia with a small insight into what is an underrepresented but no less prolific or popular facet of slash fiction. With this is mind, proposals are invited for essays of c.8500 words exploring the following in erotic slash fiction:

·         The exploration, portrayal and reception of BDSM encounters and relationships.

·         The portrayal of cisgender characters which challenge heteronormative patterns of behaviour, either by non-compliance or by excessive performativity. Particular interest in the dynamics generated by two ‘butch’ or ‘girly’ characters in sexual scenes and how violence is used to regulate and code ‘unacceptable’ behaviours and desires.

·         Xenofetishism and the treatment of alternative bodily configurations such as external breeding, hermaphroditic characters in slash fiction.

·         Fame and infamy within fan writing; the perks and perils of having a reputation for pushing the boundaries.

·         The treatment of trans* characters, non-binary gender, genderqueer and genderfluid characters in overtly sexual situations – both in canon and in fan texts.

·         The portrayal of abusive behaviours, rape scenes and toxic relationships and the appeal of the themes.

·         The treatment of and audience response to taboo relationships – incest, guardian/ward, underage characters and exploited characters.

·         Discussions and debates within fan communities regarding explicitly non-normative sexuality within slash fiction as a whole, particularly in regard to participation in kinkmemes, Shipping Olympics, Kink Bingo, fic requests -+etc.

·         Non-monogamy and non-monogamous characters and relationships, non-normative femininity/masculinity and any explorations thereof.

These lists are far from complete and should be taken only as a starting point, rather than definitive. 

 

Generally speaking, texts under discussion should have been produced, published and released within the last twenty years, although if a text beyond this timeframe is particularly significant this can be discussed – please do get in touch with your ideas. Source media includes but is not limited to: role-playing video games, webcomics, TV episodes and series, comics and graphic novels, novels and short stories, and films. Proposals are also welcome for essays exploring the unique deictic nature of slash fan fiction as an ongoing dialogue between canon, text and audience. Particular interest will be given to papers exploring how digital accessibility has contributed to its popularity as a genre, and the cultural impacts generated by the popularity of made-to-order fan fiction commissions, such as kinkmemes, Shipping Olympics, Kink Bingo, fic requests etc.

 

Final inclusion in the published volume will be subject to peer review.

 

Please send proposals of approximately 500 words plus a short biography to ashtonspacey@gmail.com by Wednesday 22nd February 2017.

 

Call for Essays: Stranger Things: Eighties Nostalgia, Cynicism and Innocence

February 14, 2017

 

Call for Essays: Stranger Things: Eighties Nostalgia, Cynicism and Innocence

I am looking for proposals for chapters for a book on the Netflix series Stranger Things to be published by McFarland & Company. As the book title suggests, the overarching theme of the volume is how the series creates, evokes, uses and exploits the eighties, eighties culture and contemporary nostalgia for both. Successful proposals will link an aspect of Stranger Things with an eighties counterpart and explore how the series engages that aspect of Reagan-era culture.

What makes this project unique is that we will wait until season two premieres to finalize the essays, so that information on and analysis of the second season will be included in the book’s essays.  The individual essays will be 5000-7000 words each, with each essay focused on a specific aspect of the series and its intersection with the eighties.

 

The Deadlines:

  • I will accept abstracts on a rolling basis up until April 30, 2017. Those whose abstracts are accepted will be sent the style guide and information regarding the preparation of manuscripts.
  • I plan to submit the manuscript 6-8 weeks after the premiere of season two of Stranger Things. The second season will premiere on Halloween, 2017.
  • Contributors must submit the first draft of their essays to me by the premiere of season two and then final draft by November 30. While this is a tight turnaround time, if the contributors have drafts in earlier that outline their theses and season one analyses, and then have four weeks to view and add in season two analyses, then we should be able to get the final manuscript to McFarland by late December.
  • Please note, no extensions can be given once the show premieres, so please only submit abstracts if you are certain you can adhere to this timetable. The deadline for manuscript submission is set, so the expectation is that final essays will be in by the above dates.

 

I already have essays on:

Synthwave music

Eighties Frankenstein films (Reanimator, Weird Science, etc.)

The monstrous feminine

Nuclear War / Cold War anxieties

Dungeons and Dragons and moral panics

 

I am looking for essays on any other topic relating to the volume’s theme.

Possible topics include but are not limited to:

Eighties teen films and S.T.

The centrality of the school to S.T. and its antecedents

The relationships between S.T. and specific eighties texts

Winona Ryder as eighties echo in S.T.

Echoes of eighties Stephen King in S.T.

            S.T. as echo of Reagan’s eighties

Echoes and uses of eighties visual culture

S.T. Fan studies and fandom

The influence of John Carpenter, Stephen Spielberg, Dan O’Bannon or other eighties filmmakers

Eighties pop music in S.T.

 

Please submit 200-500 word abstracts with a brief bio to: kwetmore@lmu.edu by April 30.

Call for respondents: The International Game of Thrones audience project

February 7, 2017

“Winter Is Coming”.  A slogan on anti-Erdogan posters in Turkey.  A banner carried by women at anti-Trump demonstrations.  A hand-written poster held up by desperate refugees held at the Greek border. The title of a book by former chess champion Gary Kasparov warning the West about Vladimir Putin.

The wide spread of the most popular slogan from the book and TV series Game of Thrones is truly remarkable.  It is being used by many to voice fears, anger and resistance to cruelty and inhumanity in many places.  Even George RR Martin declares ‘Winter is coming’ after Donald Trump’s victory.  But elsewhere the slogan is also being used as a quick reference point for sales brochures, training sessions, and policy initiatives.

What’s going on? How is this fiction series being taken up and used by so many different groups – far beyond its ‘fantasy’ world?  A major international project is right now trying to find out.  A team of 40 researchers in 12 countries is recruiting responses to a specially designed survey, gathering all kinds of people’s responses to Game of Thrones.  Already, 4,000 have completed the survey – which could throw light on the wide significance of this game-changing storyworld. Go to www.questeros.org to take part in the project, and see who we are.

To know more about the research and its purposes, contact Professor Martin Barker (mib@aber.ac.uk).

CFP: Transformative Works & Cultures: Tumblr & Fandom special issue

February 7, 2017

http://journal.transformativeworks.org/index.php/twc/announcement/view/34

Over the past five years, more and more English language transformative fandoms have gravitated to the social networking site Tumblr, moving from online communities such as LiveJournal, Dreamwidth, and Yahoo! Groups. Thus many fan communities have shifted organization structures to adapt to Tumblr’s multiple points of entry and seemingly anti-hierarchical framework. Some fans describe Tumblr as a fandom free-for-all without clear rules for engagement. Others describe this uncertain multiplicity as one of the platform’s strengths. Still others have pointed to Tumblr’s comparatively more visual interface as enabling greater global participation in heretofore monolingual fandom spaces. All of which is to say, Tumblr means many things to many people, encompassing a diversity of fandom experiences.

This special issue of TWC seeks to explore Tumblr as a (not infrequently contested) fandom platform, in which cultures of age, gender, sexuality, race, dis/ability, class, nationality, religion, language, and so on connect and sometimes clash in the contact zones of fandoms. Topics may include, but are not limited to:

* Tumblr’s influence on the production and consumption of fan fiction
* Transcultural and/or transnational fan practices and interactions on Tumblr
* Convergence of fandom and social justice concerns on Tumblr
* Tumblr fandom as a site for media literacy
* Tumblr fandom and non-normative/socially marginalized identity and community
* Marketing, media producers, and Tumblr fans
* Media discourse surrounding Tumblr fandom
* Developing aesthetics of fan work on Tumblr
* Tumblr’s role within transmedia fandom flow across platforms
* Tumblr’s cultural/discursive positioning as a youth/millennial fandom platform
* History and politics of transitioning from fandom communities (e.g. LiveJournal) to Tumblr
* How Tumblr’s interface has impacted and/or driven inter-fandom interactions and transfandom (e.g. Superwholock)

Submission guidelines

Transformative Works and Cultures (TWC, http://journal.transformativeworks.org/) 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 (http://journal.transformativeworks.org/) for complete submission guidelines, or e-mail the TWC Editor (editor AT transformativeworks.org).

Contact—Contact guest editors Lori Morimoto, Louisa Stein, and Allison McCracken with any questions or inquiries (tumblrfandomtwc AT gmail.com).

Due date—May 1, 2017, for estimated June 2018 publication.

CFP: In Media Res: Fan Tourism

February 7, 2017

Fan tourism, “location vacations,” or pop-culture tourism is a growing industry across the world, changing local economies, culture, and ambiance. Fans of various pop texts and icons have been making pilgrimages to real-world locations for decades, from Abbey Road to Forks, Washington, from 221B Baker Street to Graceland, Tennessee. In Media Res is looking for explorations into fan tourism as a general cultural practice. Investigations can be through a case study of a particular fandom, location, or behavior, taking into consideration the ways that fan tourism can be beneficial and detrimental to real world economies, infrastructures, and local cultures.

Among the topics that might be examined:
Case studies of fan pilgrimages
Economic or industrial investigations of fan tourist trade
Pedagogical approaches toward teaching/studying fan tourism
Impact of fans on “destination locations” (economically/culturally/ecologically)

Proposals may be brief, but do be sure to describe the topic and key question(s) to be explored. Please submit your proposal by February 20th. If interested, please contact In Media Res (inmediares@gsu.edu) with topic proposals or for more information about the theme. Be sure to include the name of the theme week you would like to be involved within the subject line of the email.

Academics, journalists, critics, media professionals and fans are all welcome to submit proposals.

The actual piece will include either a 30-second to 3-minute clip, an image, or a slideshow that will be accompanied by a 300 to 350 word response to/contextualization of your clip, image, or slideshow. In addition to your piece, you will be expected to engage the other pieces presented that week to encourage discussion and further flesh out the individual topic in relation to the week’s theme.
About In Media Res: http://mediacommons.futureofthebook.org/imr/

CFP: Transmedia Earth Conference 

January 31, 2017

TRANSMEDIA EARTH CONFERENCE: 

GLOBAL CONVERGENCE CULTURES

Hosted by EAFIT University, Medellín, Colombia

In Association with Bath Spa University, UK,

Bournemouth University, UK &
University of Vic – Central University of Catalonia, Spain

3-Day International Conference: 11th – 13th October 2017

http://the-transmedia-earth-conference.webflow.io

Confirmed Speakers:
Carlos A. Scolari, Universitat Pompeu Fabra

Dan Hassler-Forest, Utrecht University
Matthew Freeman, Bath Spa University

William Proctor, Bournemouth University

In an age where the distribution and sharing of content across multiple platforms is increasingly accessible – and the attention span of audiences even more divided as a result – transmediality has become a key strategy for engaging audiences across media.
Much has been written about the role of transmediality in a Hollywood context, with scholars defining forms of transmedia intertextuality (Kinder 1991), transmedia storytelling (Jenkins 2006; Evans 2011) and transmedia storyworlds (Scolari 2009; Wolf 2012),
with others exploring the related roles of transmedia fans (Hills 2015; Booth 2016) and models of transmedia brand advertising (Tenderich 2015; Freeman 2016). And yet different countries, cultures and peoples around the globe are now beginning to define increasing
uses for transmediality, adapting this phenomenon in unique ways to different cultures, communities, businesses and industries – be it in sectors of film, television, publishing, journalism, leisure, radio and beyond, emerging in cultural arenas as diverse
as creative writing, museums, apps, virtual reality, activism and education.

With this in mind, the Transmedia Earth Conference aims to internationalise both the study and the practice of transmediality by providing a global platform for showcasing and
exploring the many manifestations of contemporary and historical transmediality around the world. The conference benefits from a network of international partner institutions, and is a collaboration between the Media
Convergence Research Centre
 at Bath Spa University, the Department of Social Communication at EAFIT University, the Centre
for the Study of Journalism, Culture and Community
 at Bournemouth University, and the Konekto
Research Group
 at the University of Vic – Central University of Catalonia.
The inaugural conference – hosted by EAFIT University in Colombia – seeks to map emerging understandings of transmediality and global convergence cultures. We are interested in hearing from both scholars and practitioners about research that examines emerging
contexts and meanings of transmediality as well as from interested parties about cutting-edge social and technological shifts related to media convergences. We invite proposals for formal presentations and performative, digital or video based works. Proposal
topics may address, but are not limited to:

  • Transmedia storytelling and writing
  • Transmedia branding and marketing
  • Transmedia distribution and activism
  • Transmedia apps and online games
  • Transmedia web series and mobile devices
  • Transmedia audiences and fandom
  • Transmedia politics and education
  • Transmedia heritage and leisure spaces
  • Transmedia documentary and non-fiction
  • Transmediality as a transnational phenomenon

Please send proposals (300 words) along with a short biography to the conference coordinators: Matthew Freeman (m.freeman@bathspa.ac.uk), William Proctor (bproctor@bournemouth.ac.uk),
Mauricio Vásquez (mvasqu23@eafit.edu.co) and Camilo Andrés Tamayo Gómez (ctamay12@eafit.edu.co) by no later than 31 March 2017.

We are also hosting an ‘Adaptive Storyworld Challenge‘ in partnership with Conducttr, the world’s favourite transmedia storytelling engine for the creation of adaptive, interactive, multi-channel
experiences. We are looking for people that understand how to build storyworlds, and we invite submissions for an altered reality storyworld experience that is delivered to audiences across multiple media platforms. In return, Conducttr will award three winners
with a 1-year Conducttr Indie subscription, 2 hours mentorship on your project via Skype, and the projects showcased in Conducttr’s transmedia Newsletter. Full competition details and submission instructions for Conducttr’s Adaptive Storyworld Challenge can
be found here. You have until 30 September 2017 to complete your work and submit your presentation for consideration. Winners will be announced
at the Transmedia Earth Conference.
The spoken languages for the conference will be English and Spanish, with translation facilities provided.

Full conference website: http://the-transmedia-earth-conference.webflow.io/ 

Call for Papers: The Fan Studies Network 2017 Conference

January 26, 2017

The Fan Studies Network 2017 Conference
24-25th June 2017
Centre for Participatory Culture,

University of Huddersfield, UK

fsn-2017-image

Keynote Speaker: Dr Louisa Stein (Middlebury College, USA)
Plenary Address: Professor Matt Hills (University of Huddersfield, UK)

The fifth anniversary of the annual Fan Studies Network Conference is visiting the University of Huddersfield for a vibrant two-day programme during June 2017. The conference will celebrate and continue FSN’s proud tradition of offering an enthusiastic space for interdisciplinary researchers at all levels to connect, share resources, and further develop their research ideas. In addition to panel presentations, the two days will feature social events, speed geeking, and workshop discussions.
We are delighted to welcome Dr Louisa Stein as the keynote speaker for FSN2017. Louisa is Assistant Professor of Film and Media Culture at Middlebury College; where she teaches classes on remix culture, spectatorship, YouTube, and gender and sexuality in media. Louisa is author of Millennial Fandom: Television Audiences in the Transmedia Age, and co-editor of Sherlock and Transmedia Fandom and Teen Television: Programming and Fandom.

The event will also feature a plenary address from Professor Matt Hills, who, due to being the keynote of the first ever FSN conference, will reflect on the past five years of the network and the fan studies field. Matt is Professor of Media and Journalism at the University of Huddersfield, where he is co-director of the Centre for Participatory Culture. He has written six sole-authored research monographs, starting with the influential Fan Cultures in 2002 and most recently with Doctor Who: The Unfolding Event in 2015, as well as publishing more than a hundred book chapters and journal articles in the areas of media fandom, cult film/TV and audiences in the digital era.

FSN2017 is sponsored by the Centre for Participatory Culture at the University of Huddersfield, which will have its official launch the day before our conference. Attendees of FSN2017 will be able to attend the centre launch for free – the Centre will announce full details of this event in the coming weeks.

We invite abstracts of no more than 300 words for papers that address any aspect of fandom or fan studies. We also welcome collated submissions for pre-constituted panels. We encourage new members, in all stages of study, to the network and welcome proposals for presentations on, but not limited to, the following possible topics:

– Fandom and grief/mourning
– Representations of fans in media & popular culture
– Fandom and sports
– Fandom and race
– Political fandom
– Non-technological practices in fandom
– Fan conventions and offline spaces
– Histories and archives of fandom
– Non-Western fan cultures
– Ethics and methodology in fan studies
– Interdisciplinary approaches to fan studies
– Anti-Fandom and Non-Fandom
– The future directions of fan studies
– The ‘dark’ or ‘toxic’ side of fandom

We also invite expressions of interest (100-200 words) from anyone wishing to present as part of our popular ‘speed geeking’ session. This would involve each speaker presenting a short discussion on a relevant topic of their choosing to a number of small groups, and then receiving instantaneous feedback, making it ideal for presenting in-progress or undeveloped ideas. If you have any questions about this format of presentation, please don’t hesitate to contact us.

Please send any abstracts/enquires to: fsnconference@gmail.com by 13th MARCH 2017.
Please include up to three keywords for your submission and a short biographical note.
You can join the discussion about the event on Twitter using #FSN2017, or visit http://www.fanstudies.org.

Conference Organisers: Lucy Bennett and Tom Phillips (FSN chairs)
Bertha Chin, Bethan Jones, Richard McCulloch, Rebecca Williams (FSN board)

CFP: Themed section of Participations journal on Toxic Fan Practices

January 3, 2017

Call for Papers, Themed section of Participations: International Journal of Audience and Reception Studies

TOXIC FAN PRACTICES

Editors: Bridget Kies (University of Wisconsin-Milwaukee, USA) and William Proctor (Bournemouth University, UK).

Since its inception, the discipline we now know as Fan Studies necessarily set out to challenge stereotypical perspectives on the behaviour and practices of fan cultures, many of which constructed the figure of the fan as a figure of fun; of pathological disorder, instability and ‘enfreakment’ (Proctor, 2016; Richardson, 2010). In so doing, and in many ways, Fan Studies followed the trajectory established by Media and Cultural Studies beginning with the Birmingham School in the 1970s. In particular, the ‘first wave’ of Fan Studies was invested in demonstrating that audiences are not solely passive recipients of so-called media messages, or ‘dominant ideologies,’ but active participants in the production of transgressive and transformative practices – fan fiction, fan ‘vidding’ and the like – and involved in the negotiation of making meaning. The advent and proliferation of new media technologies, especially the Internet, has forced previously marginal fan cultures into the mainstream (Bennett and Booth, 2014; Gray et al, 2007; Scott 2013). As a result, the heightened visibility of fans and their ability to comment, celebrate and criticise produces readily accessible discourses for public consumption. While such a shift in visibility has had a clear impact on “monolithic conglomerates” (Johnson, 2013: 43) in that “fan audiences are now woo’d and championed by media industries” (Gray et al: 2007: 2), we believe that this represents only a fraction of the story, and one that requires significant redress. The visibility of fan cultures may very well shine a light on creative and participatory practices, but mainstream, public exposure also demonstrates the heterogeneity of fan communities, warts and all.

Of course, Fan Studies has since moved through several phases and, in recent years, fans themselves have become the subject of mainstream news media, but often in highly negative ways. Such discourses circulate around the figure of the fan, not as a figure of fun necessarily, but as a figure of racist, homophobic, sexist and reactionary politics. Moreover, news reports are beginning to stereotype fans in ‘new’ ways, such as the belief that the affordances of new media have led to an era of “fan entitlement syndrome” (Mendelsohn, 2014), of “nerd rage” and antisocial, toxic behaviours. Stereotypes of fan entitlement circulated in online news media (professional, amateur, pro-am) seems to be an “updated and retooled” version of William Shatner’s oft-cited ‘get a life’ stereotyping (Hills, 2016: 271; see also Jenkins, 1992).
The anonymity provided by social media platforms, with their (cyber) pseudonymous (and obfuscated) identities, has provided a figurative wall behind which participants may hide. As Claire Hardaker (2015) emphasizes, ‘this anonymity can also foster a sense of impunity, loss of self-awareness, and a likelihood of acting upon normally inhibited impulses’ (224). By the same token, Michael Suler explains that ‘people say and do things in cyberspace that they wouldn’t ordinarily say and do in the face-to-face world’ (2004: 321). This disinhibition can be salutary (supportive, cathartic) but these fan discourses in particular exemplify toxic disinhibition signified by ‘rude language, harsh criticisms, anger, hatred, even threats’ (ibid).

The fan studies discipline has already started grappling with these issues. Analyses of inter- and intrafandom Othering, ‘of fans, by fans’ (Hills, 2012), have been conducted on such quarrels and conflicts, including fan-objects such as Twilight (Hills, 2012; Williams, 2014), One Direction (Jones, 2016; Proctor, 2016), R.E.M (Bennett, 2011), and the female-led Ghostbusters remake/ reboot (Proctor., 2017). Moreover, online conflict and “toxic technocultures” (Massanari, 2015) has been analysed in other disciplines, including the #GamerGate controversy and hashtag activism such as #RaceFail, #Ferguson, #BlackLivesMatter (Rambukkana, 2015) and #BlackStormtrooper (Proctor, forthcoming), to select a few examples (see also, Burgess and Matamoros-Fernandez, 2016; Chess and Shaw, 2015; Hardaker, 2010; Hardaker, 2013; Hardaker and McGlashan, 2015; Luce, 2016; Massanari, 2015; Poland, 2016).

How can researchers examine toxic fan practices beyond those offered by mainstream news artefacts, many of which cherry-pick examples from social media without adequate theorisation or methodology? That some fans are racist, homophobic, sexist or otherwise exclusionary is one thing; but how can researchers develop tests to measure this extant discourse? How do we know who is speaking? How do we know that these are fans at all, as opposed to ‘trolls’ or ‘flamers,’ that is, those online individuals who find delight and entertainment in conflicts of this kind (Hardaker, 2015)? This special section does not seek to deny that toxic fans and audiences exist.  We do, however, seek to provide an academic space whereby these issues are placed centre-stage via methodology that moves beyond reductive, handpicked selections.  We are also interested in theorisations of the place of toxic fan practices within larger fan communities and as objects of study for the maturing fields of Fan/Audience Studies, including research across disciplines.

Contributions are welcome on a variety of topics that investigate the concept of toxic fan practices and methodological issues arising such as:

*   Online methodologies/ netnographies of particular fan communities and social media platforms
*   Specific case studies of toxic fan cultures (e.g. Star Trek fans’ responses to gay Sulu or Marvel fans’ reactions to female Thor)
*   Criticism of toxic fans from within fandoms, intra-fandom conflicts (e.g. Game of Thrones fans condemning and celebrating scenes of rape)
*   Widescale protests and boycotts on social media (such as #boycottstarwars or #buryyourgays)
*   Criticisms of representations of race, gender, sexuality, etc., in fan cultures

Proposals are also welcome on other topics as long as they meet the aims of the special section.

Please send 300 word abstracts to the following email addresses by March 1st 2017.
bproctor@bournemouth.ac.uk<mailto:bproctor@bournemouth.ac.uk>
bkies@uwm.edu<mailto:bkies@uwm.edu>

CFP: Symposium: Exploitation Cinema in the 21st Century, 9 June 2017, Canterbury Christ Church University, UK

December 21, 2016

Symposium: Exploitation Cinema in the 21st Century.

Event Date: June 9th 2017

Canterbury Christ Church University, UK

Deadline for proposals: 3rd March 2017

Keynote Speaker: Dr Johnny Walker, Northumbria University

In relation to cinema, the term “exploitation” has been adopted by various individuals and institutions over time, from opportunistic film producers and marketers of the 1920s to contemporary online distributors releasing new films in the 21st century. There is a current wave of exciting and productive scholarship on the historical developments of exploitation cinema, and its famous, and not so famous, films and filmmakers. But much of this research focuses on exploitation before the year 2000, with a particular focus up to and including the VHS era of the 1980s. Less research exists on the inflections of exploitation in the 21st century, and the trends and developments that have taken place since the turn of the century. This one-day symposium seeks to shed new light on the embodiments of exploitation cinema since 2000, with particular emphasis on current waves and cycles, the way in which they are now consumed (such as online rather than in theatres), and which particular exploitation filmmakers stand out as being important in contemporary times.

Topics might include (but are not limited to);

  • Analysis of single films
  • Studies of current waves or cycles of exploitation
  • Exploitation cinema from global national contexts (in particular from non-English speaking countries)
  • The re-emergence of old cycles since 2000 (Rape-Revenge, the Biker movie, etc.)
  • Individual filmmakers
  • New genres, sub-genres, and hybrids
  • High budget exploitation (such as that produced by Quentin Tarantino and Robert Rodriguez)
  • Patterns of exhibition and distribution
  • Studies of industrial models or modes
  • Exploitation studios (The Asylum etc.)
  • Exploitation online
  • Exploitation fandom and audiences

We invite proposals of up to 300 words for 20 minute papers, plus a short bio (up to 150 words) by March 3rd 2017.

We also welcome video essays to be submitted with a 300 word proposal/150 word bio, sent to us by March 3rd 2017. Final video submissions should be sent by June 2nd 2017 via Vimeo link. Video submissions should aim to be 10 minutes maximum running time.

All proposal (and any queries) should be sent to Dr James Newton at james.newton@canterbury.ac.uk

CFP: Teenage Kicks: Global teenage cultures, representations and practices, 9-10 September 2017, Kingston University, London, UK,

December 20, 2016

CALL FOR PAPERS

Conference: Teenage Kicks: Global teenage cultures, representations and practices

Event date: Saturday 9 September – Sunday 10 September 2017
Kingston University, London
Deadline for Proposals: 1st March 2017

Keynote Speaker: Dr Kate E. Taylor-Jones, School of East Asian Studies, Sheffield University

The popular contemporary representation of a teenager is someone who stays in their bedroom with their tablet and phone, only venturing out for sustenance.  Media panics around violence and videogames, online pornography and extreme television and film also construct the teenager as a passive victim of the mass media. The purpose of this two day conference is to interrogate popular representations, cultures and sub-cultures, and practices of teenagers on a global level.
This interdisciplinary conference seeks 20 minute papers and panel proposals which interrogate popular conceptions and misconceptions of the teenager. Papers and panels will approach the teenager from a global perspective are particularly welcome.

Themes include:

•       Bedroom Cultures

•       Fan practices and cultures

•       Blogs/Vlogs and other internet practices

•       Selfie culture

•       Fashion and beauty

•       Music and sub-cultural identities

•       Constructions of the ‘girl’ or constructions of the ‘boy’ in popular culture

•       Teenage cinema

•       Online dating and sexting

•       K-Pop/J-Pop and hybridity

•       Teenagers and the ideology of anti-social behaviour

•       Religion and the teenager

•       Histories of the teenager

•       Young Adult literature

•       Young Adult television and film

•       The law and the teenager

Please email abstracts (250-300) words to Colette Balmain (c.balmain@kingston.ac.uk) or Lucy Williams (l.williams@kingston.ac.uk) by no later than March 1st 2017 and don’t forget to include your name, email address and institutional affiliation if applicable. We look forward to hearing from you.

For further information about this event contact: Dr Colette Balmain at: c.balmain@kingston.ac.uk.

Updated details will appear on the conference website:

http://www.kingston.ac.uk/events/item/2444/09-sep-2017-teenage-kicks-global-teenage-cultures-representations-and-practices/