CFP: At home with horror? Terror on the small screen

June 23, 2017 by

There is just one week to the deadline for abstracts. We have received some wonderful abstracts, but there is still time to submit! Deadline is 30th June.

The Melodrama Research Group presents: At home with horror? Terror on the small screen

27th-28th October 2017

University of Kent

Keynote speaker: Dr Helen Wheatley (University of Warwick)

CALL FOR PAPERS

The recent horror output on TV and the small screen challenges what Matt Hills found to be the overriding assumption ‘that film is the [horror] genre’s ‘natural’ home’ (Hills 2005, 111). Programmes such as American Horror Story, Penny Dreadful and The Walking Dead are aligned to ‘‘quality TV’, yet use horror imagery and ideas to present a form and style of television that is ‘not ordinary’’ (Johnston 2016, 11). Developments in industrial practices and production technology have resulted in a more spectacular horror in the medium, which Hills argues is the ‘making cinematic’ of television drama (Hills 2010, 23). The generic hybridity of television programmes such as Whitechapel, and Ripper Street allow conventions of the horror genre to be employed within the narrative and aesthetics, creating new possibilities for the animation of horror on the small screen. Series such as Bates Motel and Scream adapt cinematic horror to a serial format, positioning the small screen (including terrestrial, satellite and online formats) as the new home for horror.

The history of television and horror has often displayed a problematic relationship. As a medium that operates within a domestic setting, television has previously been viewed as incompatible with ‘authentic’ horror. Television has been approached as incapable of mobilizing the intense audience reactions associated with the genre and seen as a medium ‘restricted’ in its ability to scare and horrify audiences partly due to censorship constraints (Waller 1987) and scheduling arrangements. Such industrial practices have been seen as tempering the genre’s aesthetic agency resulting in inferior cinematic imitations or, ‘degraded made-for-TV sequels’ (Waller 1987, 146). For Waller, the technology of television compounded the medium’s ability to animate horror and directed its initial move towards a more ‘restrained’ form of the genre such as adapting literary ghost stories and screening RKO productions of the 1940s (Ibid 1987). Inferior quality of colour and resolution provided the opportunity to suggest rather than show. Horror, then, has presented a challenge for television: how can the genre be positioned in such a family orientated and domesticated medium? As Hills explains, ‘In such a context, horror is conceptualised as a genre that calls for non- prime-time scheduling… and [thus] automatically excluded from attracting a mass audience despite the popularity of the genre in other media’ (Hills 2005, 118).

Helen Wheatley’s monograph, Gothic Television (2006), challenges the approach of television as a limiting medium for horror, and instead focuses on how the domestic setting of the television set is key to its effectiveness.  Focusing on the female Gothic as a domestic genre, Wheatley draws a lineage from early literary works, to the 1940s cycle of Gothic women films and Gothic television of the 1950s onwards. Wheatley argues for the significance of the domestic setting in experiencing stories of domestic anxiety for, ‘the aims of the Gothic drama made for television [are] to suggest a congruence between the domestic spaces on the screen and the domestic reception context’ (Wheatley 2006, 191).

Developments in small screen horror are not restricted to contemporary output. In his work on the cultural history of horror, Mark Jancovich argues that it was on television in the 1990s where key developments in the genre were taking place (Jancovich 2002). Taking Jancovich’s work as a cue, Hills develops his own approach to the significance of horror television of the 1990s. Hills cites Buffy the Vampire Slayer and The X Files as examples of programmes striving to mobilise the genre’s more graphic elements while existing as a ‘high-end’ cultural product: ‘authored’ TV that targeted a niche fan audience (Hills 2005, 126).

Taking these recent developments into account, the aim of this conference is to engage with such advances. Can we say that it is on the small screen where critical and creative innovations in horror are now being made? How has the expansion of satellite television and online sites impacted the genre? How has the small screen format developed the possibilities of horror? Is the recent alignment with ‘quality TV’ evidence of horror’s new mainstream status? This conference will also reflect on seminal works on television horror and revisit the history of the genre. In addressing these questions the conference will underline the importance of the small screen for horror, within the study of the genre and of the medium, and ask: is the small screen now the home of horror?

Topics can include but are not limited to:

  *   The seasons and horror on the small screen
  *   Gothic television
  *   Gender and horror
  *   Historical figures and events in small screen horror
  *   Small screen horror as an ‘event’
  *   Adaptation from cinema to small screen ‘re-imaginings’
  *   Production contexts
  *   Censorship and the small screen
  *   Serialisation and horror production
  *   National television production of horror
  *   The impact of Netflix and Amazon Prime
  *   TV history and horror
  *   Literary adaptations
  *   Children’s TV and horror
  *   Genre hybridity
  *   Fandom
  *   Teen horror
  *   Stardom and horror

Please submit proposals of 400 words, along with a short biographical note (250 words) to horrorishome@gmail.com<mailto:horrorishome@gmail.com> by Friday 30th June. We welcome 20 minute conference papers as well as submissions for creative work or practice-as-research including, but not limited to, short films and video essays.

Conference organisers: Katerina Flint-Nicol and Ann-Marie Fleming

https://tvhomeofhorror.wordpress.com/

https://twitter.com/Homewithhorror

CFP: ​Football, Politics and Popular Culture

June 23, 2017 by

Football, Politics and Popular Culture: 2017 Annual Conference of The Football Collective. 
Hosted by the Popular Music and Popular Culture Research Cluster, University of Limerick.

‘The Football Collective’ is a dedicated International network of over 200 academics and practitioners across a range of disciplines (Sociology, Musicology, Business Management, Economics and Finance, Political Science, Gender Studies, History, Social Media and Fan Studies, Corporate Governance 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:

·      Fan culture
·      Political songs and chants
·      Migration
·      Racism
·      Islamophobia/anti-Muslim racism
·      Ethno-national formation
·      Conflict
·      Sectarianism
·      Identities
·      Class politics
·      Gender and Sexualities
·      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 visit https://footballcollective.org.uk/2017/04/05/the-football-collective-annual-conference-2017/ 

or contact:

footballconference2017@ul.ie

CFP: Casual Games and Gaming 

June 20, 2017 by

GAMES & CULTURE SPECIAL ISSUE: CASUAL GAMES AND GAMING

Editors: 

Shira Chess, University of Georgia (schess@uga.edu) 

Christopher A. Paul, Seattle University (paulc@seattleu.edu)

As the video game medium continues to shift, the casual games market has grown increasingly robust. In “casual” we are referring to games meant to be played in short bursts of time, are inexpensive or free, require minimal expertise on the part of the player, and are typically played on mobile devices and computers.  The texts, genres, audiences, and industries of these games has grown exponentially in the past decade. 

Given these shifts in platform and style, this special issue seeks to push at research within the casual games market. Juul’s foundational work A Casual Revolution: Reinventing Video Games and Their Players (2010) helped establish much of the groundwork in this area. Further research continues to suggest the need to use a variety of methodological approaches to capture the often-ephemeral nature of the casual games market and its players (Leaver & Willson, 2015). Possible areas of investigation could include (but are not limited to):

• Historicizing the term “casual”

• Analysis of the casual/hardcore breakdown

• Methodological approaches to casual games

• Analysis of specific casual genres (Time Management, Hidden Object, Invest/Express, Puzzle, etc.)

• Audience studies on casual games

• Industry and studies in casual

• Formal/textual analysis of specific casual games

• Research on mobile games

We are looking for new voices and innovative research that push the boundaries of casual. We are happy to give some basic feedback on abstracts pre-submission. 

Deadline & Submission Information

Essays are due by October 10, 2017.

Final essays should be 6000 words or less, including references and should use APA style (5th edition). Submissions should be posted to Manuscript Central portal, at http://mc.manuscriptcentral.com/games.  When submitting, please be sure to submit as a “special issue for casual games.”  

If you have questions, please contact us at schess@uga.edu or paulc@seattleu.edu

CFP: Queer/ing Animation deadline extended 

June 7, 2017 by

“Queer/ing Animation” is developing nicely with a strong emphasis on queer readings of animated work and queer understandings of the medium as a whole.  However, we are still looking for abstracts on queer
fan communities (ex. queer interpretations of a character, slash and femslash communities), animation as a tool for queer activism, queer representation within animation (ex. positive representation, gaps in representation, possible examples of queerbaiting),
and studios’ relationship with queer communities (ex. treatment of queer employees, interaction with queer fans, marketing practices aimed specifically at the queer community).  

 

If you missed the last CFP or if you saw the CFP and missed the deadline, this is a great second chance.  Please send a 250 word abstract and 100 word biography to Kodi Maier at
queeringanimation@outlook.com    
Abstracts are due 16 June 2017.  

 

The symposium will take place at the
University of Hull on 26 July 2017.  

 

 

https://www.facebook.com/queeringanimation

CFP: STAR WARS, Expanded Universe, legend, canon? « I thought he was a myth! »

May 29, 2017 by

STAR WARS, Expanded Universe, legend, canon? « I thought he was a myth! »

Edited by Marc Joly-Corcoran (University of Montreal) and Laurent Jullier (New Sorbonne University)

Theme

Since Disney bought Lucasfilm in 2012, the Star Wars universe has never been so disrupted. George Lucas is no longer involved as a producer, for better or worse. In 2014, in what seems to be a marketing move that mainly serves to distinguish what would be now officially “canon”, the status of the Expanded Universe (the EU: novels, video games, comic books) was classified “legend”. Consequently, apart from the fan productions, and all the fanon, SW post-2014 stories are officially “canons”.

That being said, one can only speculate about the impact of this diegetic change for the fans and the future Lucasfilm productions. Indeed, the EU is becoming a fabulous paradigm from which new creators are free to draw any ideas they feel necessary, without any constraint nor pressure to use ‘this or that’ to respect a pre-established continuity set in the EU, which is no more canon. Nevertheless, many fans have invested a significant amount of time reading all the novels and comics, covering 20,000 years of history in “a galaxy far far away”. Now, we could push this ‘legend logic’ further: why could the infamous prequels, directed by George Lucas, not be classified “legend” too, intradiegetically acknowledged by the characters in SW? The same could apply for the original trilogy. Isn’t it Rey who says about Luke Skywalker: “I thought he was a myth!”

Exclusively devoted to Star Wars, this issue aims to analyze the impacts of the upheavals following this diegetic change:    

– On the official productions (two feature films, The Force Awakens and Rogue One, the animated Star Wars Rebels series, books, video games, etc.)

– On the fan creations: what impact these films had on their audiovisual works (fanfilm), fanart or fanfic, which they continue to produce since their release?

– On the reception side: how were the last two feature films received and appreciated according to the audience? – connoisseurs, fans of the original trilogy, newcomers, beginners, etc. How are the six original opus of the saga now “revised”? What consequences changing the status of the EU to “legend” really had on their “image” or “value”?

This issue seeks well-researched papers that address topics such as (but not exclusively):

  • Amnesia in SW screenplays and retroactive continuity
  • Revival, remake, reboot, soft reboot: why the fad?
  • Transmedia as a way for saving screenplays, and retcon
  • The relevance of the notions of legitimacy, “canon” or “non-canon”, “officiality” and authenticity in a fictional universe
  • Revisionism through the history of reception, specifically concerning Episode IV released in 1977
  • Case studies: The Force Unleashed, KOTOR
  • Case studies: Rogue One, marketing, trailers and reshoot
  • Should The Force Awakens be called New Hope 2.0?
  • Fans’ contributions to the Expanded Universe (Fan theories, fanfilm, fanfic, fanart, etc.)

How to submit?

Please send an abstract, between 300 and 500 words (excluding references), in English or French, by August 1st, 2017, to    marc.joly@umontreal.ca  AND laurent.jullier@sorbonne-nouvelle.fr

The abstract must specify the topic and the object(s) of study, along with the preferred methodology.  Don’t forget to indicate key bibliographical references, your name, email address, and your institutional affiliation.

Selected contributors will be advised by email by the end of June 2017. Full papers will be submitted by the end of september 2017 (anonymized). The issue will be released during the beginning of 2018.

Editorial rules

Kinephanos is a peer-reviewed journal. Each article is evaluated by double-blind peer review. Kinephanos does not retain exclusive rights of published texts. However, material submitted must not have been previously published elsewhere. Future versions of the texts published in other periodicals must reference Kinephanos as its original source.

For the editorial guidelines, refer to the section Editorial Guidelines.

http://www.kinephanos.ca/2017/star-wars-univers-etendu-legende-canon-i-thought-he-was-a-myth-star-wars-expanded-universe-legend-canon/

Kinephanos accepts papers in English and in French.

CFP: Breaking out of the Box: Critical Essays on the Cult TV Show Supernatural

May 29, 2017 by

Lisa Macklem and Dominick Grace seek proposals for a refereed collection of essays on the CW cult horror show Supernatural.

“What’s in the box?” Dean Winchester asks in “The Magnificent Seven,” episode one of the third season of Supernatural, to the befuddlement of his brother Sam and their avuncular mentor Bobby Singer, but to the delight of fans who revel in the show’s wry meta elements. Dean is of course quoting Detective Mills, Brad Pitt’s character in the thriller Se7en (1995), directed by David Fincher. Throughout its twelve-year run (to date), Supernatural has revelled in breaking out of the limitations usually implied by a television show, breaking out of the box in numerous ways. Acknowledging the popularity of the meta-play in the show, current showrunner Andrew Dabb promised the most meta-finale ever for the season twelve finale. One of the most noteworthy examples of this predilection is the extensively meta elements of the season five apocalypse plotline, which featured the character Carver Edlund (his name derived from series writers Jeremy Carver and Ben Edlund) in several episodes. Edlund is a novelist who has written supposed works of fiction that in fact document Sam and Dean Winchester’s lives, thoroughly breaking the fourth wall. Edlund is the pseudonym of Chuck Shurley—who turns out to be God, making one of his rare mainstream television appearances. However, this meta plot element represents only one of the myriad ways Supernatural has broken out of the box. Season five, episode eight (“Changing Channels”), transports Sam and Dean into the worlds of several television shows, while season six, episode fifteen, “The French Mistake,” carried the conceit further, having Sam and Dean visit the “real” world, in which they are characters in the TV show Supernatural. Season eight and nine feature as main villain the appropriately-named Metatron, the scribe of God trying to write himself into the position of God—in effect plotting in both senses of the word. Season eight also featured, in episode 8 (“Hunteri Heroici”), Warner Brothers style cartoon gimmickry, and the upcoming season thirteen promises an animated crossover episode with Scooby Doo. Season ten’s 200th episode is yet another recursive metanarrative, featuring a highschool student trying to mount a musical adaptation of the Carver Edlund novels. In short, despite its horror trappings, Supernatural has been decidedly postmodern in its liberal use of pastiche, meta, intertextuality, and generic slippage. This collection is interested in exploring the ways Supernatural breaks boundaries. Topics of potential interest include but are not limited to

 

  • Explicitly meta elements in Supernatural
  • Supernatural and fandom: interpenetrations
  • God, Metatron, and other Supernatural authors
  • Role and role-playing
  • Generic slippage (comedy; found footage; the musical episode)
  • Allusion and intertext in Supernatural
  • Canonicity
  • Non-Supernatural (e.g. the episodes with no fantasy elements)
  • Supernatural and genre TV
  • reality and retcon: how the show has shifted and redefined its own rules
  • casting and self-consciousness (e.g. the use of celebrity guest stars such as Linda Blair, Rick Springfield, etc.)
  • Importance of music throughout the show

 

Proposals of 300-500 words should be submitted to Lisa Macklem (lmacklem1@gmail.com) or Dominick Grace (dgrace2@uwo.ca) by October 1 2017. Final papers should be between 5,000 and 7,000 words long and written in conformity with MLA style and will be due by May 1 2018. McFarland has expressed interest in this collection, with a contract forthcoming.

Call for Papers – Otherness: Essays and Studies 6.1

May 29, 2017 by

The peer-reviewed, open-access e-journal Otherness: Essays and Studies is now accepting submissions for its special issue: Otherness and Transgression in Fan and Celebrity Studies, Autumn 2017.

Otherness: Essays and Studies publishes research articles from and across different scholarly disciplines that critically examine the concepts of otherness and alterity. We particularly appreciate dynamic cross-disciplinary study.

The notions of otherness and transgression play an essential part in the cultural work and practices celebrities and fandoms perform inasmuch as these concepts are inseparable from the celebrity and fan cultural processes of social in/exclusion, identification and dissociation, uniformity and diversification, and forces both drawing and disrupting demarcations between normalcy and deviance. Otherness and transgression constitute pertinent sites for critical exploration within the two overlapping fields of research, Fan and Celebrity Studies.

A complex and multivalent term, otherness is conventionally signaled by markers of “difference” and the unknown. As difference remains a condition for any determinate sense of identity, otherness is also inevitably implicit and complicit in considerations of subjectivity, identity, and sameness. Likewise, in the field of Fan and Celebrity culture – where categories such as class, gender, race, sexuality, and age dynamically intersect and interact in manifold ways – the identity work, social meanings, and cultural preferences informing both these cultures’ production and consumption of cultural and media texts are also constantly negotiated. Reflexive of the values, biases, and tensions of the social body, they are useful indicators of contemporary configurations and devices for othering; for example, the ways in which the discourses of immorality, pathology, monstrosity, impropriety, and cultism, among others, inform the construction of difference, and function as vehicles for othering that additionally cut diagonally across various imbricating “-isms,” such as racism, heterosexism, ageism, ableism, and lookism.

As difference often implies the perception of deviance, otherness is accompanied by the constant impending threat of transgression, to undo and redraw the differentiating limits determining the provisional identities of entities, behaviors, and bodies. While transgression refers to a violation and exceeding of bounds, it also ambiguously realizes and completes these boundaries as it helps define them and reaffirms a given social order by designating the illicit. This dialectic of the de/stabilizing effects of transgression summons further inquiry in relation to fandoms and celebrity cultures.

Fan and Celebrity Studies are in need of a reappraisal in which the new fickle and permeable boundaries between identities, cultural practices, private and public spheres, products and consumers, celebrity and fan bodies, intimacy and estrangement are investigated. Refracting otherness and transgression from overlapping prisms, the pleasures, representations, productions, and affects of celebrity and fan cultures opens up a fruitful and invigorating space for further research. We envision this special issue on Otherness and Transgression in Fan and Celebrity Studies to be one such place.

 

WELCOME TOPICS INCLUDE BUT ARE NOT LIMITED TO THE FOLLOWING:

The Intersection of Celebrity and Fan Studies

Sex, Gender, Sexual Differing, and Queering the Fan / Celebrity Body

Cross-Over Celebrities; Ethnicity, Hybridity, and Fandom in Transcultural Contexts

Celebrity Representations of Dis/ability and through Fan Works

The Intersectionalities of Social Categories in Celebrity and Fan Cultures

Notoriety, Infamy, Scandal, Deviance, and Excess Social Media and the Construction of Celebrity as Other

The Construction of Otherness in Fandom and Fan Works

Monstrosity, the Abject, and Uncanny in Fan Fiction, Fandoms, and Celebrityhood

Pathology, Addiction, Cultism, Confession, and Therapy

Mashing and Vidding: Viral and Violating

Authenticity, Secrecy, Intimacy, and Publicity

Post-feminist Celebrity Narratives and Cultural Forms

Power, Prosumerism, and Participatory Culture

New Modes of Self-Other Relations within Para-social Contexts

Fan and/or Celebrity Shaming

The (Im)Material Other Worlds of Fandoms and the Alternative Spaces of Fan Communities

 

Articles should be between 5,000 – 8,000 words. All electronic submissions should be sent via email with Word document attachment formatted to Chicago Manual of Style standards to the issue editor Dr. Matthias Stephan at otherness.research@gmail.com

 

Further information: http://www.otherness.dk/journal/

 

The deadline for submissions is Monday, September 15, 2017.

CFP: ​MEDIA INDUSTRY STUDIES: CURRENT DEBATES AND FUTURE DIRECTIONS

May 27, 2017 by

MEDIA INDUSTRY STUDIES: CURRENT DEBATES AND FUTURE DIRECTIONS

18-20 April 2018   King’s College London

International conference hosted by the Department of Culture, Media and Creative Industries, King’s College London

Jointly organized by:
Media Industries Scholarly Interest Group, Society for Cinema and Media Studies (SCMS)
Media Industry Studies Interest Group, International Communication Association (ICA)
Screen Industries Work Group, European Network for Cinema and Media Studies (NECS)
Media Industries and Cultural Production Section, European Communication Research and Education Association (ECREA)
Screen Industries Special Interest Group, British Association of Film, Television and Screen Studies (BAFTSS)
AG Medienindustrien, Gesellschaft für Medienwissenschaft (GFM)
Media Industries journal

HOST COMMITTEE
Paul McDonald (conference chair), Sarah Atkinson, Bridget Conor, Virginia Crisp, Jeanette Steemers

ADVISORY COMMITTEE
Elizabeth Evans (Media Industries), David Hesmondhalgh (ECREA), Derek Johnson (SCMS), Amanda Lotz (ICA), Alisa Perren (Media Industries), Kevin Sanson (Media Industries), Andrew Spicer (BAFTSS), Petr Szczepanik (NECS), Patrick Vonderau (GFM)

FOCUS
Studies of media industries have formed a distinctive strand of media scholarship. Foundational traditions in this field are marked by the political economy of communications, sociology of media occupations and institutions, media economics, media industry historiography, and critical and cultural studies. Subsequently, insights drawn from critical legal studies, cultural policy studies, economic geography, creative labour, cultural economy, Internet studies, production cultures and informal media economies have diversified and enriched the field.

In part this interest arises from contemporary changes within the media industries themselves, with the global extension and integration of media markets, digitalization of media production and distribution, changing business models, proliferation of supply channels, patterns of corporate convergence, and the blurring of producer/consumer relations. These are only the most recent development, however, of industries built on complex and contested histories.

With the boom in media industries scholarship and emergence of dedicated degree programmes or single modules, studies of industry have gained a visible place in media curricula. This conference is therefore providing an international and interdisciplinary forum for reviewing the past and present state of media industry studies, and defining the future of the field.

Papers, panels and workshop are invited from all traditions in media industries scholarship. We welcome work across the full breadth of media industries – print, publishing and journalism, advertising, recorded music, film/cinema, radio, television, video, games, mobile communications and social media – and in all international or historical contexts.

Thematic concerns include but are not limited to:

•       critical and conceptual perspectives
•       methodological approaches
•       cultural and creative industries
•       political economy
•       production cultures and studies
•       economic sociology
•       de-westernizing media industry studies
•       distribution studies
•       gatekeepers and intermediaries
•       cultural and economic globalization
•       impacts of digitalization
•       independent and alternative media institutions
•       media industries historiography
•       cooperative and competitive inter-industry interactions
•       law and the shaping of media industries
•       marketing and branding media content
•       media management
•       media markets and flows
•       retail and sales of media
•       networks, infrastructures and ecologies
•       ownership and concentration
•       policy and regulation
•       politics of media labour
•       teaching media industries
•       media technologies as these relate to media industries

SUBMISSIONS

Deadline: 23.00hrs GMT 15 September 2017

Submissions are welcomed in three categories: open call papers, pre-constituted panels, or pre-constituted workshops. Detailed requirements below.

Delegates can contribute to the conference in up to different two capacities, i.e. presenting both a paper and contributing to a workshop but not presenting two papers. Chairing a panel or workshop will NOT count as one of these roles. 

To submit your paper, panel or workshop, please access the submission portal – www.mediaindustrystudies.wordpress.com

1) Open call papers
Format: solo or jointly presented research papers lasting no more than 20mins. Submissions in this category must provide the following details:
Type:           State this is an open call research paper
Title:          Paper title
Name(s):                 Speaker(s)
Contact:                 E-mail address(es) for the speaker(s)
Abstract:               Description of the paper not exceeding 300 words
Sources:                List up to 5 sources relevant to the paper
Biography:              Brief professional biography/ies for the speaker(s) not exceeding 100 words
Keywords:                Up to 5 terms identifying the focus of the paper

2) Pre-constituted panels
Format: 90mins panel of 3 x 20mins OR 4 x 15mins thematically linked research papers followed by questions. Submissions in this category must provide the following details AS A SINGLE SUBMISSION.
Type:           State this is a pre-constituted panel
Title:          Panel title
Name(s):                 Chair(s)
Contact:                 E-mail address(es) for the chair(s)
Abstract:               Description of the panel not exceeding 300 words
Biography:              Brief professional biography/ies for the chair(s) not exceeding 100 words
Keywords:                Up to 5 terms identifying the focus of the panel

In addition, the submission must provide the following for EACH paper on the panel.
Title:          Paper title
Name(s):                 Speaker(s)
Contact:                 E-mail address(es) for the speaker(s)
Abstract:               Description of the paper not exceeding 300 words
Sources:                List up to 5 sources relevant to the paper
Biography:              Brief professional biography/ies for the speaker(s) not exceeding 100 words

3) Pre-constituted workshops
Format: 90mins interactive forum led by 4 or 5 x 8mins thematically linked informal presentations designed to energize collective discussion and participation amongst the speakers and the audience of matters relating to the practices of researching or teaching media industries. Submissions in this category must provide the following details AS A SINGLE SUBMISSION.
Type:           State this is a pre-constituted workshop
Title:          Workshop title
Name(s):                 Chair(s)
Contact:                 E-mail address(es) for the chair(s)
Abstract:               Description of the workshop not exceeding 300 words
Sources:                List up to 5 sources relevant to the workshop
Biography:              Brief professional biography/ies for the chair(s) not exceeding 100 words
Keywords:                Up to 5 terms identifying the focus of the workshop

In addition, the submission must provide the following for EACH presenter in the workshop.
Name(s):                 Presenter(s)
Contact:                 E-mail address(es) for the presenter(s)
Abstract:               Description of the presentation not exceeding 150 words
Biography:              Brief professional biography/ies for the speaker(s) not exceeding 100 words

CFP: Zone Moda Journal: Fashion and celebrity culture: Body spectacle and the enlarged sphere of show business

May 12, 2017 by

For more than a century, the fashion industry and fashion marketing have actively participated in the enormous and progressive expansion of show business’ sphere of action, expression, behavior, and texts (an expansion further stretched – in the new millennium – by you tube, social networks , video games, and the domestication of entertainment).The last two decades have been marked by the dissemination, availability, and spreading of information about fashion products, fashion sites and events, and, most of all, of fashion personalities (designers, models, art directors, publicists). This availability of fashion imagination and consumption has intermingled with other practices and pleasures of show business, from filmmaking to red carpets. Conflating with movie watching, awarding, publicity, and gossip, the viewers’ expanded attention to fashion items has had a great impact on the general notion of /what/ public personalities are and what they look like. It has contributed to inflate the interest in celebrities and to enlarge the number of celebrities. It has exploded the ambition and desire of the hitherto unknown  to increase their own public self-exposure, enlarging  spectators’ experience of leisure and spectacle and the spaces of entertainment.

At the same time, celebrities can be generated outside the world of the show business and instead turn a crime, a scientific discovery, a political statement into entertainment and spectacle. The artist-as-celebrity , going back to Oscar Wilde if not earlier , has been joined by the artist as /fashion /celebrity, a phenomenon that arguably started with Andy Warhol , while the past twenty years have seen the emergence of the /sporting /‘fashion celebrity ‘ ; musicians from every genre can be part of the new fashion spectacle, if they are suitably photogenic. The general attractiveness of a myriad kind of celebrities, hybrid, hardly definable, open to dispute, has inflated and rendered more /visible/ the sphere of entertainment. Similarly, fashion was born when /couture/ inhabited restricted, private, and aristocratic conclaves: now expertise about clothing, style and image creation has entered the sphere of spectacle and entertainment. Fashion creates images and codes through which celebrities are conceived and exposed, reproduced. Fashion forges the celebrity text. In the new millennium “Our lives, our intellect, our religion, our creativity, our sexuality are all the vocabulary of fashion and are open for renegotiation and representation. Yet we view fashion as suspect, insubstantial, the stuff of dreams not reality” (Changing Fashion: A Critical Introduction to Trend Analysis and Meaning’ Annette Lynch, Mitchell Strauss, p. 1 ). This could also be said of contemporary celebrity, which shares withbfashion an ambivalent status, halfway between materiality and insubstantiality, where narration plays a pivotal role.

The general public’s enjoyment, contempt, and denigration of celebrities is based on personal narratives: stories about celebrities’ private lives, about their bodies and apparatuses: aesthetic surgery, clothes, technologies… This journal issue devoted to celebrity and fashion investigates the modes of verbal and visual narrations revolving around attractive personalities. How does this narrative factor, which supports the celebrity system , operate within and  influence the world of fashion, and how have the stories about fashion (films, biographies, but also publicity, gossip, events, spaces, architecture) influenced the world of show business?

To tackle the intriguing relationship between fashion and celebrity culture, we suggest the following topics:

*Influence, masses, populism*: democratization of fashion,
democratization of celebrity: conflicts and ambivalences between notions of ordinariness vs. exceptionality. Discourse about audiences as agents in the making of meanings concerning celebrities. Fashion seen as a vehicle of the mass appropriation of the means of construction of the celebrity’s image.

*Success, achievement, publicity: *Fashion publicity, fashion
branding**and the**culture of the branded self. Public versus private life, aristocratic exclusiveness versus egalitarism.

*Sponsorship and Internet celebrities*: Wide access to celebrity information through the social media: how does this generate new kinds of sponsorship on part of fashion brands? How do Internet personalities negotiate between their performance of authenticity and their fashion endorsement?

*Historical roots and new celebrities: *How is 20th century prototypes, i.e. the rock-star or the classical Hollywood star, influencing the culture of celebrity? Do new forms of celebrity (micro-celebrity,
anti-celebrity, subcultural-celebrity…) correspond to new styles and new circulation of fashion trends? Old and new atypical star bodies: their impact on fashion bodily stylizations. Fashion professionals turning into celebrities.

*Character versus Film Persona*. Film and television characters’ fashion styles interact with actors/actresses’ public personas. Are there celebrity icons who have become style icons due to their fictional characterizations more than their public appearance?

*Taste, disgust, anti-celebrity*. Celebrities as models of good or bad taste. Bad taste condemnation influencing the aesthetic canon. Anti-canon and celebrities’ social connotation (celebrity chav, rich
kids…). Anti-celebrity as a result of anti-fashion styles. How does a celebrity’s repudiation of a luxury style affect critical consumption? Style icons turning into celebrities: how does taste capital” isvtransformed into “celebrity capital”?

*Cumbersome celebrities and fashion fails*: celebrities might become detrimental to fashion brands: scandals can induce both rejection and employment of a testimonial. How do fashion brands react to celebrities’ lapses of style and fashion fails? Do these fall downs contribute to the construction of a celebrity?

Abstracts of no more than 1000 words + 5 bibliographical references (word-, doc format), written either in Italian or English, are be sent
to: zonemodajournal@unibo.it <mailto:zonemodajournal@unibo.it>

Abstract acceptance does not guarantee publication of the article, which will be submitted to a double-blind peer-review process. The length of the article should be comprised between 6000 / 7000 words.

Important dates:

– abstract submission deadline: June 15, 2017

– notification of acceptance/rejection: June, 30 2017 (notice of
acceptance might include comments and requests of explanations)

– full-lenght paper submission deadline: September 20,

– comments of the reviewers will be conveyed together with the
reviewers’ decision (approval with no changes, approval with major/minor changes, rejection) by October 16, 2017

– authors shall send the improved article to the editorial staff by
Novembre 6, 2017.

ZMJ7 is scheduled to be published at the end of 2017.

CFP: The 8th Biennial Slayage Conference on the WhedonversesFlorence, Alabama, US / Summer 2018

May 12, 2017 by

Slayage: The Journal of Whedon Studies, the Whedon Studies Association, and conveners Stacey Abbott and Cynthia Burkhead invite proposals for the eighth biennial Slayage Conference on the Whedonverses (SCW8). Devoted to Joss Whedon’s creative works, SCW8 will be held on the campus of the University of North Alabama, Florence, Alabama, June 21-24, 2018. The conference will be organized by Local Arrangements Chair Cynthia Burkhead, along with Slayage alumns Anissa Graham, Stephanie Graves, Jennifer Butler Keeton, and Brenna Wardell
We welcome proposals of 200-300 words (or an abstract of a completed paper) on any aspect of Whedon’s television and web texts (Buffy the Vampire SlayerAngelFireflyDr. Horrible’s Sing-Along BlogDollhouse,Marvel’s Agents of S.H.I.E.L.D.); his films (SerenityThe Cabin in the WoodsMarvel’s The AvengersMuch Ado About Nothing, The Avengers: Age of Ultron, In Your Eyes); his comics (e.g. FrayAstonishing X-MenRunaways;Sugarshock!Buffy the Vampire Slayer Season EightNine, and TenAngel: After the FallAngel & Faith Season Nine and Ten); or any element of the work of Whedon and his collaborators. Additionally, a proposal may address paratexts, fandoms, or Whedon’s extracurricular—political and activist—activities, such as his involvement with Equality Now or the 2016 US elections.  Since Florence, Alabama is one of the four cities making up the Shoals, and the area is rich in music history (the Muscle Shoals Sound, W.C. Handy) as well as Native American History, we look forward to papers addressing these subjects as they relate to the Whedonverses. Multidisciplinary approaches (literature, philosophy, political science, history, communications, film and television studies, women’s studies, religion, linguistics, music, cultural studies, art, and others) are all welcome. A proposal/abstract should demonstrate familiarity with already-published scholarship in the field, which includes dozens of books, hundreds of articles, and over a fifteen years of the blind peer-reviewed journal Slayage. Proposers may wish to consult Whedonology: An Academic Whedon Studies Bibliography, housed with Slayage atwww.whedonstudies.tv.

An individual paper is strictly limited to a maximum reading time of 20 minutes, and we encourage, though do not require, self-organized panels of three presenters. Proposals for workshops, roundtables, or other types of sessions are also welcome. Submissions by graduate and undergraduate students are invited; undergraduates should provide the name, email, and phone number of a faculty member willing to consult with them (the faculty member does not need to attend). Proposals should be submitted online through this SCW8 webpage (see below) and will be reviewed by program chairs Stacey Abbott, Cynthia Burkhead, and Rhonda V. Wilcox. Submissions must be received by Monday, 8 January 2018. Decisions will be made by 5 March 2018. Questions regarding proposals can be directed to Rhonda V. Wilcox at the conference email address: slayage.conference@gmail.com.

Submit your proposal at http://www.whedonstudies.tv/scw8–2018.html