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CFP: Girl Audiences in the ‘Girlscape’

May 10, 2024

Michele Paule (Oxford Brookes) and Sarah Godfrey (UEA) are excited to announce this call for papers for a themed edition of the Participations Journal of Audience and Reception Studies 

CFP: Girl Audiences in the ‘Girlscape’

The term ‘girlscape’ was coined by Tomiko Yoda to describe a ‘mediatic milieu, disseminated via a variety of media channels, linking feminine bodies, affects, objects, and environment’ in which the identificatory figure of the girl is placed ‘at the centre of a consumer culture conceived of as both utopian and egalitarian’ (2017, 173). Yoda develops the theory in terms of Japanese tourism campaigns drawing on wider cultural discourses that position girls as enjoying new freedoms and influence in post-70s Japan. We borrow the term and extend it to consider ways in which girls are increasingly positioned as consuming, agentic, highly visible subjects within contemporary media, and also as ideal prod-users whose online practices sustain platform activity and enjoin the consumption of others. The ‘girlscape’, while encompassing global media elements, will manifest differently in and across different local and national contexts.

If, as Michelle Santiago Cortes (2020) claims, ‘teenage girls rule the internet right now’ they must also navigate the complex conditions and restrictions of this new visibility (Banet-Weiser 2018). Girls’ participatory audience practices draw attention to ways in which algorithmic measures are serving up ever-more tailored and intimate menus for their consumption, while their own activities are consciously shaped through the ‘datafication of affect’ as they work to accrue followers (Bishop 2019; Zhao 2021). The prod-usage of girl audiences and fans enriches the transmedia landscape as they appropriate and remix content that may resist, negotiate with or entirely reproduce hegemonic girlhoods (Hall 1973). At the same time as girl fans’ labour is increasingly important to media platform activity and profitability in economies of attention, girls’ activities as fans and online participants continue to attract derision and hostility (Wilson 2018). The ‘girlscape’, of course, is not limited to digital realms; legacy media including film, young adult (YA) fiction, television, music, and merchandising ‘paratexts’ exist and combine as a part of the proliferation of popular girl-focused media. 

The consumer address to girls of ‘can-do’ Western media feminisms, and the datafication of girl audience economies have been extensively critiqued for their reproduction of middle-class, white, figures and their relegation, exoticisation or elision of non-normative girlhoods. While some corporations have mobilised feminist and inclusive politics in featuring, for example, Black girls, Islamic girls, queer girls and disabled girls in their media output, such ‘naive integration’ (Heiss 2020) has been critiqued for its commodification of feminist politics, its ultimate reinscription of normate bodies, and its reproduction of cultural focus on girls’ appearance. Minoritised girls nonetheless shape their own visibility via alternative media practices such as traditional ‘zines (Reynolds 2020), Twitter signifyin’ (Florini 2014) and counter-narrative podcasts (Greene 2021). This complex and rapidly mutating milieu begs for more empirical research into how girl audiences/readers/users are engaging with the contemporary ‘girlscape’. We therefore invite papers based on original research into any aspect of girl audiences. The following themes are suggestions, but are not restrictive:

  • Girl audiences of specific texts in defined ‘girlscapes’
  • Integrated approaches analysing texts and their production alongside their reception by girls
  • Methodologies for researching girls’ engagements with/in the ‘girlscape’
  • Girls’ participatory media practices/prod-usage
  • The political economies of audiences in the ‘girlscape’
  • The emotional and digital labour of girls/ girl fans online
  • Girls subverting/queering/evading the ‘girlscape’
  • Global/national/local ‘girlscapes’ and their audiences
  • Transmedia engagements in the ‘girlscape’
  • Girls’ engagements with popular feminisms in the ‘girlscape’
  • Girls’ navigation of streaming platforms
  • Girl prod-users on algorithms/ privacy
  • Girls as content creators imagining audiences

Submission Guidelines:

Authors interested in contributing to this special edition are invited to submit original research articles on the Section’s theme. We are happy to receive a range of contributions including creative responses to the theme, although we give priority to essays on actual audience and reception research. We welcome:

  • Empirical audience/reception studies 
  • Essays investigating industry practices/political economies 
  • State-of-the field reviews
  • Reviews of key books/essays
  • Interviews
  • Translations

Manuscripts should adhere to Participations submission guidelines. All submissions will undergo peer-review to ensure academic rigour and relevance. Please note we will adopt Participations’ model of cross-reviewing by others contributing to the Themed Section, and their principle of Open Refereeing, under which the names of authors and referees are known to each other.

Timeline

  • Submission of proposals/abstracts: 1st June 2024
  • Submission of drafts: 1st October 2024 (3 months)
  • Peer Review feedback: 1st December 2024 (2 months)
  • Revised Submissions: 1st February (2 months)
  • From Revised Submissions to confirmation and submission to journal: 1st April (2 months)
  • Publication: May 2025

References

Banet-Weiser, S. 2018. Empowered: Popular feminism and popular misogyny. Duke University Press.

Bishop, S. 2019. Managing visibility on YouTube through algorithmic gossip. New Media and Society, 21 (1112), 2589-2606.

Cortés, Michelle Santiago. 2020. Charli D’Amelio now has more followers than anyone on TikTok. Refinery 29, 27 March. Available at: https://www.refinery29.com/en-gb/2020/03/9615235/charli-damelio-most-followers-on-tiktok

Florini, Sarah. 2014. ‘ Tweets, tweeps, and signifyin’: Communication and cultural performance on “Black Twitter”. ’, Television & New Media, 15:3, pp. 223–37.

Greene, D. T. 2021. (W) rites of passage: Black girls’ journaling and podcast script writing as counternarratives. Voices from the Middle, 28(4), 38-42.

Hall, Stuart. 1973. Encoding/decoding. In (eds) S. Hall, S., D. Hobson, D., A. Lowe and P. Willis, 2003. Culture, media, language: Working papers in cultural studies, 1972-79. Routledge Hall,,pp. 128-138.

Heiss, S., 2011. Locating the bodies of women and disability in definitions of beauty: An analysis of Dove’s campaign for real beauty. Disability Studies Quarterly, 31(1).

Jackson, S., 2021. “A very basic view of feminism”: feminist girls and meanings of (celebrity) feminism. Feminist Media Studies, 21(7), pp.1072-1090.

Reynolds, C., 2020. “My zines, so far, aren’t as political as other works I’ve produced”: Communicative Capitalism Among Queer Feminist Zinesters. Communication, Culture & Critique, 13(1), pp.92-110.

Subramanian, S., 2021. Bahujan girls’ anti-caste activism on TikTok. Feminist Media Studies, 21(1), pp.154-156.

Taylor, Anthea. 2016. Celebrity and the Feminist Blockbuster. UK: Palgrave MacMillan

Yoda, Tomiko .2017. GIRLSCAPE: The Marketing of Mediatic Ambience in Japan. In M. Steinberg & A. Zahlten (Ed.), Media Theory in Japan (pp. 173-199). New York, USA: Duke University Press.

Wilson, K., 2018. Red pillers, sad puppies, and gamergaters: The state of male privilege in internet fan communities. A companion to media fandom and fan studies, pp.431-445.

Woods, Rachel, and Benjamin Litherland. 2018. “Critical Feminist Hope: The Encounter Of Neoliberalism and Popular Feminism In Wwe 24: Womens Evolution.” Feminist Media Studies 18 (5): 905–922.

Zhao, E. J. 2021. Reconfiguring audience measurement in platform ecologies of video streaming: iQIYI’s pivot toward data-driven fandom and algorithmic metrics. International Journal of Communication, 15, 21.

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CFP: Blockbuster Futures

May 10, 2024

October 28–30, 2024 | Indiana University Cinema | Bloomington, IN

Blockbuster films have been instrumental to the evolution of the art and economics of the film industry for decades. What Charles Acland (2020) calls the “blockbuster strategy”— “the rationale that embraces the big-budget cross-media production at the expense of other industrial and artistic approaches” (8)—underpins contemporary industrial, technological, and aesthetic models of global blockbuster filmmaking. Yet, blockbusters are on the precipice of change, and in the U.S., they are showing their first signs of sustained destabilization. Black Widow and The Eternals (both 2021) were the first two Marvel Cinematic Universe films to fail to make back their costs in theatrical release. Several box-office failures from established franchises landed in 2023, including The Marvels, Shazam: Fury of the Gods, The Flash, Ant-Man and Wasp: Quantumania, and Transformers: Rise of the Beasts. That same year, Disney announced a decrease in funding and content development in the Star Wars and Marvel franchises. High-profile film cancellations like Batgirl, Black Adam 2, and Wonder Woman 3, combined with company streaming losses from subscriber plateaus and high-cost-low-return blockbuster franchise TV production, signal a growing caution around the form. Simultaneously, Hollywood continues to depend on international markets as the primary revenue drivers even while global blockbusters are thriving outside of Hollywood’s influence. Indeed, the global success of India’s RRR (2022) and China’s homegrown blockbusters like The Battle at Lake Changjin II (2022) and Moon Man (2022) generated hundreds of millions of dollars in revenue.     

Despite the complexity of these variables and the associated turbulence they engender, it’s clear blockbusters won’t be abandoned by global film industries anytime soon. As we approach the next phase of the blockbuster, this conference is interested and invested in thinking through the past and present of global blockbusters, broadly constructed, to imagine blockbuster futures across medium, industries, geographies, time, business models, genres, forms, and aesthetics.

Encouraged topics can include but are not limited to:

  • Intersections of blockbusters and race, representation, gender, and/or sexuality
  • Blockbusters as sites of transnational flows of financial and cultural capital
  • Blockbusters and geopolitical impacts on cultural creation
  • Blockbusters and postcolonialism/neocolonialism
  • Inclusive film production
  • Technological and aesthetic developments in effects-based filmmaking
  • Permutations in the development, use, and utility of the term “blockbuster”
  • Genre blockbusters/genre and blockbusters
  • Impacts of blockbuster filmmaking on exhibition
  • Indie blockbusters/independent film and blockbuster strategies
  • Blockbusters and streaming
  • Blockbusters and television
  • Intersections of games (electronic and other) and blockbusters
  • Risk in blockbuster filmmaking/financing
  • Work on specific franchises (MCU, DC Cinematic Universe, Fast and Furious franchise, Mission:
    Impossible franchise, etc.)
  • Below-the-line blockbuster labor (including unionization)
  • Blockbuster franchises as star systems
  • Blockbuster aesthetics
  • Queering blockbusters
  • Cripping blockbusters
  • Blockbuster filmmaking as industrial strategy and practice

This conference will serve as the foundation of a special issue of The Journal of Popular Culture focused on blockbuster futures.

Conference submissions are due by JUNE 1, 2024 11:59pm EDT. We strongly encourage practitioners—
filmmakers, programmers, and exhibitors—to participate in the conference to help connect blockbusters to their broader impacts on film ecosystems. Submissions can take the form of preconstituted panels (min of 3 and max of 4 participants) or individual submissions.

Submission Requirements for Preconstituted Panels:

  • panel abstract (1300 min-1500 max characters without spaces)
  • paper abstracts for each presenter (1300 min-1500 max characters without spaces)
  • bio for each presenter (300 min-400 max characters without spaces)
  • 3 keywords that best describe your panel

Submission Requirements for Individual Submissions

  • paper abstract (1300 min-3000 max characters without spaces)
  • presenter bio (300 min-400 max characters without spaces)
  • 3 keywords that best describe your panel

Blockbuster Futures will include a keynote by Robin R. Means Coleman and Novotny Lawrence (editors, The Oxford Handbook of Black Horror Film, 2024) on race, genre filmmaking, and blockbuster resistance. Additional keynotes to be announced.

Blockbuster Futures includes a pre-conference weekend marathon screening of the Fast and Furious franchise (films 1 through 10: Part 1) on October 26 and 27.

SUBMIT

Questions? Email: bfconf24@iu.edu

Blockbuster Futures Partners is funded in part by a grant from the IU Bloomington Public Arts & Humanities project and is presented in partnership with The Media School at IU Bloomington.

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CFP: The Copy InVisible Culture issue 39

May 10, 2024

Issue 39 – The Copy

Deadline: Submissions due June 30, 2024 to invisible.culture@ur.rochester.edu.

As a practical and conceptual device, the copy has remained important to many disciplines. Imitation, as Paul Duro describes, has a long global history as it appears in art and visual culture (Duro, 2014). Matters of authenticity, resemblance, and repetition carry multiplicities of meaning across time period and cultural context. The central importance of imitation and/or copying in artistic forms/traditions is only further reflected in contemporary discourse on AI-generated art and theft. In film and media studies, early discourse on mechanical reproduction (Benjamin, 1935) shaped the field of media studies while, much later, digital technology raised questions of whether digital manipulations and remixes destroyed cinema’s status as an indexical medium (Rodowick, 2007). Indeed, the digital turn of the 1990s continues to shape questions of cinema’s reproducibility to this day.

As described by Lev Manovich more than 20 years ago, new media’s ability to cut, assemble, remix, and widely circulate digital information has become central to the way we create, consume, and experience media (Manovich, 2002). We inhabit an era where everything is copyable and manipulable and where the “original” can be increasingly hard to find. From the endless replication of memes, the mimetic performance that structures social media platforms like Tik Tok, to the automated content reproductions and facsimiles populating the gray markets of the content economy; the copy is a central form, act, and function. Copies continue to fuel long standing debates about originality and authenticity, mimicry, and reproducibility. Recent examples include concerns over plagiarism in YouTube video essays and the rise of NFTs as guarantors of authenticity over digital objects.

Of course, copying never required the affordances of digitization, as evidenced by reproductions ranging from earlier Roman copies of Greek statues to the architectural imitation observed within the urban simulacrascapes of China. (Bosker, 2013) Contemporary artists use copying as well, like Yinka Shonibare’s use of symbols and intertextuality to remake Victorian and Edwardian costumes and sculptures in “African” batik fabric. Shonibare’s work challenges imperialism and explores cultural hybridity. It also underlines the need to attend to the copy as a cultural form.

For Issue 39, InVisible Culture asks: What is there to say about the copy today? How do we account for the copy in visual culture, specifically in a contemporary moment where technologies such as AI and digital fabrication have taken such a prominent role in society? As digital media is no longer “new,” does any novelty remain in the digital copy? What does the physical act of copying physical media do/mean differently today? How does the process of imitation/copying continue to shape social dynamics, aesthetics, and politics?

InVisible Culture invites issues that engage with copies/copying as manifested in visual culture, from material reproductions/facsimiles/castings/sculpture to the aesthetics and circulation of digital media. Moreover, we encourage submissions that engage with copying or imitation as it pertains to sociality, whether it be in through “imitation publics on Tik Tok” (Zulli and Zulli, 2022); how online data collection reshapes human subjects as “informational persons” (Koopman, 2019); or what citation does in different cultural contexts (Duro, 2014).

We invite works from the disciplines of film studies, media studies, art history, anthropology, and visual studies on topics that are not limited to but include:
• Digital cinema
• NFTs, authenticity/theft of digital art
• Memes
• Mimesis and mimicry
• Parody and pastiche
• Sculpture
• Social media and mimicry/repetition
• Digital identity/performance/performativity
• Seriality and serial art
• AI-generated art
• Fakes, forgeries, and bootlegs
• Cross-cultural replication
• Representations of race/gender/culture in copies
o Especially gaming and digital media “asset swapping”
• Replica modeling
• The double/doppelganger
• Post indexicality in cinema and photography
• Photographic processes
• Print copy machines, zines

Articles
Please send completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to invisible.culture@ur.rochester.edu by June 30, 2024. Inquiries should be sent to the same address.

Creative/Artistic Works
In addition to written materials, InVisible Culture accepts works in other media (video, photography, drawing, code) that reflect upon the theme as it is outlined above. Please submit creative or artistic works along with an artist statement of no more than two pages to invisible.culture@ur.rochester.edu. For questions or more details concerning acceptable formats, go to or contact the same address.

Reviews
InVisible Culture is also currently seeking submissions for book, exhibition, and film reviews (600-1,000 words). For this issue we particularly encourage authors to submit reviews of games or other forms of interactive media. To submit a review proposal, go to https://www.invisibleculturejournal.com/contribute or contact invisible.culture@ur.rochester.edu.

About the Journal
InVisible Culture: A Journal for Visual Culture (IVC) is a student-run interdisciplinary journal published online twice a year in an open access format. Through double-blind peer-reviewed articles, creative works, and reviews of books, films, and exhibitions, our issues explore changing themes in visual culture. Fostering a global and current dialogue across fields, IVC investigates the power and limits of vision.

Each issue includes peer-reviewed articles, as well as artworks, reviews, and special contributions. The Dialogues section offers timely commentary from an academic visual culture perspective and announcements from the editorial board.

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CFP: Fan Personas

May 9, 2024

Call for Papers
Forthcoming Themed Issues
Fan Personas: Vol. 10, No. 2, 2024

The entanglement of identity and performance within fandoms have been central components of fan studies, whether these fans are focused on sports, music, film, television, literature, celebrity, or something else. Their shared interest and investment in the fan object provide fans with common ground on which to build a collective identity, while the fan object can be a rich source of identity markers, from logos and colour schemes to moral values and philosophical positions. As argued by Busse and Gray in The Handbook of Media Audiences (2011, p. 426), being a member of a fandom facilitates “a particular identity that affects and shapes its members in ways beyond shared media consumption”.

In this issue, we invite scholars to bring understandings of identity from fan studies into conversation with ideas of a strategic performance of self, extending existing work on fan personas from both within the Persona Studies journal and beyond. In doing so, we wish to explore how a ‘fan persona’ might be utilised by fans for specific purposes or in different interactions, or to frame individual perspectives, beliefs or interpretations within collective spaces.

In tandem with Christopher Moore’s (2020) call in Transformative Works and Cultures for a “persona-inflected fan studies”, we are making space in this issue for a fan-inflected persona studies. In clarifying the potentials offered to fan studies scholars by engaging with persona studies, Moore (2020, ¶ 1.9) points to P. David Marshall’s exploration of “the move from representational media (print, film, radio, and television) to presentational media (the internet, social media, and streaming platforms, among many others)”, as well as the concepts of intercommunication, micropublics, and the dimensions of persona (see Marshall, Moore & Barbour 2020). Similarly, research and theorisation around fan objects, names, performances, and communities, and the impact of these on movement between collective and personal identities (see Busse 2017, Chin & Morimoto 2013, Hills 2002, Jenkins 1992, Peyron 2018 among others), can usefully be deployed from fan studies into persona studies.

In this Fan Persona themed issue, we invite both traditional article and creative practice submissions that engage with personas in (and beyond) the following areas:

Mediatised fans
Embodied performances of fandom
Fannish behaviour and practice
Fan communities
Niche fandoms
Mainstream fans
Performing anti-fandom
Intersectional analyses of fans
Materiality and fandom
Fan status
Theorising fan personas
Platforms, infrastructures, and fans
Contested fandoms
Toxic fans/fandoms
Conflicting fandoms
Representing fans
Fan parasociality
Fan investment
Celebrity fandom

Works cited
Busse, K 2017. Framing Fan Fiction: Literary and Social Practices in Fan Fiction Communities. University of Iowa Press, Iowa City.

Busse, K & Gray, J 2011. ‘Fan Cultures and Fan Communities’. In The Handbook of Media Audiences (eds A. Sreberny & V. Nightingale), pp. 425-443. https://doi.org/10.1002/9781444340525.ch21

Chin, B & Morimoto, LH 2013. ‘Towards a Theory of Transcultural Fandom’. Participations, vol. 10, no. 1, pp. 92-108. https://www.participations.org/10-01-07-chin.pdf

Hills, M 2002. Fan Cultures. Routledge, London.

Jenkins, H 1992. Textual Poachers: Television Fans and Participatory Culture. Routledge, New York.

Marshall, PD, Moore, CL & Barbour, K 2020. Persona Studies: An introduction. Wiley-Blackwell, Hoboken, NJ.

Moore, CL 2020. ‘An approach to online fan persona’. Transformative Works and Cultures, vol. 33 https://doi.org/10.3983/twc.2020.1703

Peyron, D 2018. ‘Fandom Names and Collective Identities in Contemporary Popular Culture.’ In The Future of Fandom Special Issue (eds K Busse & K Hellekson), Transformative Works and Cultures, no. 28. https://dx.doi.org/10.3983/twc.2018.1468

Submission guidelines:
Initial abstracts should be 150-250 words long, with full papers to be between 5000 and 8000 words in length, inclusive of reference list, or an equivalent for creative practice submissions. When submitting for consideration, please identify how your work is responding to the theme of the issue. We encourage scholars to engage with, build upon, and/or challenge existing persona studies scholarship, including (but not limited to) work published in this journal. You can find information about the journal’s focus and scope as well as our peer review policies here: https://ojs.deakin.edu.au/index.php/ps/about.

Submission timeline:
Abstracts (or full papers if available) submitted issue editors

22 July

Author notification and invitation to submit for peer review

2 August

Full submission due for peer review

7 October

Review and revision period

October-November

Issue publication

December 2024

Contact:
For further information or to submit an abstract, please contact issue editors Dr Kim Barbour, University of Adelaide (kim.barbour[at]adelaide.edu.au) and Dr Mark Stewart, University of Waikato (mark.stewart[at]waikato.ac.nz).

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CFP: Being Furry

March 25, 2024

Being Furry: Rotterdam, October 2024

In association with the Otterdam Furry Arts Festival (Rotterdam, the Netherlands)

Furries, loosely defined as fans of anthropomorphised animals and zoomorphic humans, have arguably existed since the 1970s. Yet, these remain an under-researched group. This could be due to academia viewing the fandom as “unworthy” of study (Roberts, 2015) the historically negative depiction of the fandom resulting in an aversion to being studied (Leshner, et al., 2018; Plante, et al., 2017), or any of a myriad of other reasons.

The most well-known efforts to study furries come from the International Anthropomorphic Research Project (2016; 2023), however many unique perspectives on the fandom are missing or unheard. Furthermore, those studying the furry fandom are largely disconnected from each other and lack a focal point.

This conference, the first of its kind, aims to bring together academics and furries from different fields and viewpoints. In doing so, this conference is the first step to formalising a field of ‘furry studies’ that explores and examines this creative community. Therefore, this conference marks the beginning of legitimising the field as a valid site for contemporary research, and to promote global and cross-field collaboration among furry scholars and those invested in this community.

The conference is part of the Otterdam Furry Arts Festival, a public event celebrating furry culture and art occurring in Rotterdam in October 2024. We encourage the wider furry community to take part as well as researchers, and we look forward to the insights this diverse audience will bring. Information about tickets for this event will follow shortly after the venue has been confirmed.

Theme: “Being Furry”

For the first furry studies conference, the theme, ”Being Furry”, will allow for a variety of proposals and act as a strong basis for the field’s inception. The conference aims to inspire discussion, especially given that ‘if you ask ten furries to define what furry is, you’ll end up with eleven different answers’ (Plante, 2023).

Rather than deciding on a concrete definition of “what a furry is” with this conference, our point of provocation is “What is Furry”? Here are some topics to start your thinking. This list is by no means exhaustive, and we encourage proposals about “Being Furry” that go beyond these suggestions:

  • Furry history: furry media, conventions, or activities.
  • Examinations of the fursona: physical ephemera, psychological attachment, aesthetics of costuming and fursuiting, species prevalence or attachment.
  • Furry identity: furries and queerness, the relationships between furries and wider LGBTQIA2S+ communities, neurodiversity in the fandom, experiences of BIPOC within the community.
  • Sex and the furry fandom: sex positivity, kink culture, NSFW practice and artwork.
  • Furry economies: artistic output, “suspiciously wealthy furries”, furries’ charity work, the relationships between furry and ‘big media’ outputs such as Disney films.


We encourage the submission of proposals for academic papers, short workshops, practitioner-based activities, best-practice showcases, and pre-formed panels. We welcome established academics at all stages of their careers, and warmly embrace independent scholars. We also encourage submissions from non-academic furries and welcome other presentation formats such as photographic essays, alternative presentation styles, etc.

Further details can be found on the Otterdam Furry Arts Festival website: https://otterdam.art/  

What we’re looking for

Please submit 500-word abstracts and/or proposals for panels, and/or other forms of contribution, by 17:00 UTC on Monday 10 June 2024. All submissions will be double-reviewed by a panel of researchers who are actively involved in furry fandom. You will be notified of the panel’s decision on 1 July 2024. Please ensure that all submissions (if primarily written) are in PDF format.

Submissions must also contain:

  • Name of author(s)
  • Affiliation of author(s), if applicable
  • Email address of author(s)
  • Title of proposal
  • A short biography of each author (up to 150 words)
  • References, if applicable


All proposals must be submitted via email to submissions@furrystudies.org with “Furry Studies – Otterdam 2024” in the subject line.

Ethos

This event is designed to build connections between those researching furries, providing an inclusive trans-disciplinary research and publishing space. Though based physically in Rotterdam, the conference will be a hybrid event with online modes of participation, to allow for proceedings to be as accessible as possible.

The official language of the conference, in which all submissions and eventual contributions are expected to be presented, is English. Selected papers will be developed for publication in a special issue of Popular Communication focused on furry studies.

Organising Committee

Reuben Mount (Vanguard Husky), College of English and Media, Birmingham City University, England UK

Rhys Jones, School of Culture and Communication, Swansea University, Wales UK

Tom Geller (Jack Newhorse), Stichting Otterdam, Rotterdam, Netherlands

Informal Enquiries
hello@furrystudies.org

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    CFP: Material Cultures and Collecting Practices across Global Fandom

    March 15, 2024

    Editors:


    Vlada Botorić, Zayed University, UAE

    Lincoln Geraghty, University of Portsmouth, UK


    Popular culture, with its diverse manifestations in media, art, and entertainment, has become a powerful lens through which societies express, negotiate, and challenge their identities. Fandom spaces, whether physical or digital, serve as dynamic arenas where communities coalesce around shared interests, creating unique subcultures. Simultaneously, collectors, driven by passion and a desire to preserve cultural artifacts, contribute to the curation and reinterpretation of popular culture through physical objects. The convergence of these elements prompts a rich exploration of cultural dynamics, consumption patterns, and identity formations. Collecting practices have become more sophisticated but they have tended to attract less critical attention over the years (Geraghty, 2014). With that said, more work is now being done on the relationships between fandom spaces and fan objects. For example, in his auto-ethnographic study of a life-long participant observer of the LEGO phenomenon, a collector, and an academic-fan, Botorić (2023) offered an externalizing fandom life-long experience and aesthetic preoccupations while creating a personalized interior, where LEGO becomes a dioramic spectacle integrated into the living space.

    Along with traditional fan convention physical spaces, fans create digital and social media content to expose their creations and collections. Besides taking photos of their creations, fans make “room tour” videos of their creations of collection spaces. Rebane (2019) argues about this YouTube genre of room tour demonstrating its similarities with the nineteenth-century practices of ‛making of the parlor’ as a highly specific space in which private and public spheres interacted and the symbolic capital of the family was both created and put on show. These videos appear on personal YouTube channels centered on a specific hobby or activity of their authors ranging from beauty, fashion, to video gaming and popular culture, which also greatly influence the furnishing of their spaces. This digital performative logic of those videos is characterized both by the need to exhibit fans achievements and to maintain and have control over the public and private spatial domains, that is opposed to the physical exhibition spaces of the large fan conventions and events.

    Geographical location of fans and fan communities may (over-)determine fan engagement and productivity in a global community setting. Botorić (2022) introduced the concept of periphery fandom, a concept that is new in the debate on consumer culture, to interrogate global fan community productive experiences from various geographical locations. Periphery fandom is defined as a sub-ordinated fan community experience, where members are deprived of access to their objects of fandom. Local fandoms are influenced by the local market conditions, questioning fans’ creativity, their community rise and spread. In this context, Chin and Morimoto (2013) argue that, while national identity and socio-political contexts may inform fan pursuits, this is neither necessarily the case nor the only possible mode of fan engagement. Fan identity is prioritized over national identity (Hills, 2002); therefore, a fan orientation may supersede geographical boundaries, becoming essentially a transnational/transcultural experience (Hills, 2002).

    Moreover, collections, not only in their simple existence as owned things, but also in the care that goes into their organization, maintenance and display, serve as an objectification of the fans’ (sub)cultural capital (Geraghty, 2018). The collecting of objects forms a visual and physical biography of the self that in turn reflects how cultural texts cross national borders.  Therefore, this edited volume will examine culture(s) of consumption by focusing on the collected objects as a focal point for personal narratives of collectors’ cultural practices and experiences. In addition, this edited collection seeks to explore the multifaceted intersections of diverse experiences, examining the evolving dynamics and cultural significance of popular culture, the spaces where fandoms thrive, and the practices of collectors. As scholars continue to recognize the profound impact of these phenomena on contemporary society, this collection aims to provide a comprehensive exploration of their intricate relationships.

    This edited collection addresses the need for a cohesive and interdisciplinary examination of the evolving landscape of popular culture materiality, fandom spaces, and collecting practices. By bringing together diverse perspectives and methodologies, we aim to contribute to a nuanced understanding of these phenomena, fostering dialogue among scholars from fields such as media studies, cultural studies, sociology, consumer culture, marketing and beyond.

    Contributors are invited to submit proposals exploring, but not limited to, the following themes:

    •          Materiality of Collecting

    •          Geographies of Fandom

    •          Digital Fandom Spaces as Virtual Collections

    •          Gender, Identity and Material Fandom

    ·           Global Exchanges of Fan Objects

    •          Ethnographies of Fandom and Collecting Spaces

    Deadline for abstract submission: May 31, 2024.

    Submission instructions: Please submit a 300 word abstract and a 100 word bio to vlada.botoric@zu.ac.ae and lincoln.geraghty@port.ac.uk with Fandom Book Chapter in the subject line.

    You will be notified by June 15, 2024.

    Following review and hopeful acceptance of the proposal submitted to Palgrave Fan Studies series, it is anticipated that authors for specific chapters will be identified, approached and confirmed by June 15, 2024. First draft of full chapters (approx 6.000 words) to be submitted by December 1, 2024, feedback and revisions communicated to authors by May 31, 2025, and final drafts due to be submitted by October 1, 2025. Final submission of full manuscript by December 1, 2025.


    References:

    Botorić V. (2023). Living with LEGO: A fan’s re-interpretation of the interior domestic space, Popular Communication, 21(2), 98-113.

    Botorić, V. (2022). Periphery fandom: Contrasting fans’ productive experiences across the globe. Journal of Consumer Culture, 22(4), 889–907.

    Chin, B. and Morimoto L.H. (2013) “Towards a theory of transcultural fandom. Participations 10(1): 92–108.

    Geraghty L. (2014). Cult Collectors: Nostalgia, Fandom and Collecting Popular Culture. London: Routledge.

    Geraghty, L. (2018). Class, Capitalism, and Collecting in Media Fandom. In Melissa Click and Suzanne Scott, eds. The Routledge Companion to Media Fandom. New York: Routledge, 2018, pp. 212-219.

    Hills, M. (2002). Fan Cultures. New York: Routledge.

    Rebane, G. (2019). A ‘parlour of one’s own’? The YouTube room tour genre. Continuum, 33(1), 51–64.

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    Call for chapter proposals: Asia-Pacific Fandom, Screen Media and Home

    January 9, 2024

    Asia-Pacific Fandom, Screen Media and Home

    Deadline: February 1st 2024

    Editors

    Dr Meenaatchi Saverimuttu (Macquarie University)

    Dr Jane Simon (Macquarie University)

    Summary: This edited collection examines the site and idea of home through the specific lens of transnational and diasporic fan practices in the Asia-Pacific. Our approach to the thematic of home is informed by feminist and post-colonial scholarship that understands home as both a material site and an idea or imaginary that intersects with questions of mobility, labor, belonging and economics. We begin from the premise that home is not a contained idea or space, and that the idea and experience of home is not always a shared one, nor is it always easily locatable (Blunt and Dowling 2006; Lloyd and Vasta 2017). The edited collection will expand on recent scholarship that highlights home as a neglected site for fan practices (Baker 2019; Duncan 2022), by focusing specifically on the shifts, mobilities and regions associated with the Asia-Pacific.



    We position the Asia-Pacific as an unfixed geographical region that has complex transnational flows (Martin et al 2019), and a rich landscape of screen-based fan practices, performances and identification. The collection will examine how these practices, performances and identifications unfold in everyday domestic spaces: kitchens, bedroom walls, living rooms and sofas. We seek book chapters that explore what it means to think about fandom as a home-making practice; how fan collections and displays are enmeshed with domestic space; how domestic labor intersects with fan practices; and how the movement of media texts across the Asia-Pacific zone create new registers of belonging and re-imaginings of home.

    We welcome submissions on topics that focus on screen media texts or fan practices based in or from the Asia-Pacific region, including (but not limited to):

    Fan collections and displays in home spaces
    Material objects and fandom at home
    Memorabilia and everyday use
    Representations of fandom at home
    Fan labor and/as domestic labor
    Online fandom in the home
    Home and mobility in diasporic fan practices
    Home, belonging and screen media fandom
    Case studies of fandom in domestic settings
    Nostalgia, homeland and diasporic fandom
    Fandom and the bedroom wall
    Sofa telephilia
    Kitchen fandom
    Deadline for submission: February 1st 2024

    Submission instructions: Please submit a 300 word abstract and a 100 word bio to jane.simon@mq.edu.au and meenaatchi.saverimuttu@mq.edu.au with Asia-Pacific Fandom in the subject line.

    You will be notified if your proposal is accepted by March 1st 2024.

    Chapters will be peer reviewed and a full proposal will be submitted to a University Press (such as University of Iowa Press’ Fandom & Culture Series, to be confirmed) in May 2024, and full chapters (approx 6000 words) will be due for submission by September 2024.

    References

    Baker, Tegan Alexandra. 2019. “‘It Was Precious to Me from the Beginning’: Material Objects, Long-Distance Fandom and Home.” Soccer & Society 20 (4): 626–41. https://doi.org/10.1080/14660970.2017.1376187.

    Blunt, Alison. 2005. “Cultural Geography: Cultural Geographies of Home.” Progress in Human Geography 29 (4): 505–15. https://doi.org/10.1191/0309132505ph564pr.

    Duncan, Catherine. 2022. “Fandom, Homes and Families: Home as an Overlooked Site of Fannish Practice.” Journal of Fandom Studies, The 10 (1): 3–17. https://doi.org/10.1386/jfs_00047_1.

    Lloyd, Justine, and Ellie Vasta. 2017. “Reimagining Home in the 21st Century.” In Reimagining Home in the 21st Century, edited by Justine Lloyd and Ellie Vasta, 1–18. Cheltenham: Edward Elgar.

    Martin, Fran, John Nguyet Erni, and Audrey Yue. 2019. “(Im)Mobile Precarity in the Asia-Pacific.” Cultural Studies 33 (6): 895–914. https://doi.org/10.1080/09502386.2019.1660690.

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    CFP: #TrueCrime: Digital Culture, Ethics and True Crime Audiences

    December 11, 2023

    Chapter proposals for edited collection #TrueCrime: Digital Culture, Ethics and True Crime Audiences


    Proposals due by Thursday 1st February 2024.

    The hashtag #truecrime currently has 50.7 billion views on TikTok and 1.3 million posts on Instagram. Reddit’s ‘True Crime Forum’ boasts over 2.6 million ‘detectives’, and the most-watched true crime videos on YouTube achieve in the region of 30 million views. Elsewhere, true crime fans flock to X (formerly known as Twitter), Tumblr and Facebook to join growing communities of like-minded enthusiasts. This level of social media activity—which ranges from acts of liking, sharing and commenting to posting original content such as reaction videos, true crime-themed makeup tutorials and scathing critiques of the genre’s more troubling aspects—is of little surprise. As Tanya Horeck (2019, 130) suggests, true crime plays upon viewers’ affective responses in order to heighten their interest in and consumption of stories. Audiences’ increasing sense of participation and their conviction that they can play a vital role in effecting meaningful social change is, Horeck notes, characteristic of true crime outputs shaped by online media networks in the digital era.

    Much scholarship has focused on long-form modes of storytelling in the professionalised sectors of the true crime industry. Fewer, however, have considered the user-generated productions that circulate on platforms such as TikTok, YouTube and X. In the mainstream media, the ethical pitfalls of the low-threshold styles of content creation that typify social media true crime have made headlines due to the activities of digital sleuths, many of whom are also aspiring true crime influencers (Kircher and Hampton, 2021). One of the best-known examples of such problematic armchair detecting occurred with the social media frenzy surrounding the disappearance of #vanlife micro-influencer Gabby Petito in 2021, with TikTokers poring over Petito’s social media accounts, focusing on minuscule details and perpetuating endless speculation as to her whereabouts and her fate. Bethan Jones notes that the actions of these social media users blurred ‘the lines between websleuthing and fandom, and the increasing treatment of the [Petito] case as a fictional narrative puts true crime fandom on the cusp of appropriate and inappropriate behavior’ (2023, 176). Yet, as we have argued elsewhere (Hobbs and Hoffman, 2022, forthcoming), social media also has the potential to offer true crime consumers and producers alternative avenues of expression that are both individually empowering and potentially genre-changing. The same low thresholds that allow for conjecture and conspiracy also afford audiences space for critique and analysis. The accessibility of social media apps has provided new voices with room for expression and recognition, and, to that end, there has been a substantial increase in visibility for true crime content creators who are themselves survivors of crime and/or who are from historically marginalised groups underrepresented in the wider true crime genre. The range of user-generated materials available also affords consumers access to content that aligns with their personal, political and cultural preferences in ways unimaginable before the advent of digital media.

    Editors Simon Hobbs (University of Portsmouth, UK) and Megan Hoffman (Independent Scholar) invite submissions for a peer-reviewed edited collection to be proposed for Palgrave’s ‘Fan Studies’ series. We are looking for chapters of 6000-8000 words on true crime’s presence on any major social networking website, and we particularly welcome pieces that focus on the ethical implications of such outputs.

    Possible subjects may include, but are not limited to:


    The ethics of true crime content on social media

    Regulation and censorship of true crime content on social media

    Social media true crime narratives in a post-#MeToo culture

    Social media sleuthing

    The true crime influencer as internet personality

    True crime fan communities and consumption practices on social media

    The role of true crime fan production on social media

    The use of social media by crime victims and survivors

    Social media as a space to share true crime stories from marginalised voices

    True crime-related activism on social media

    Social media as a platform for criticising true crime genre conventions

    True crime genre hybrids on social media (‘true crime and…’)

    Gender and social media true crime

    Race and social media true crime

    Doom scrolling and true crime

    The role of subcultural capital, likes and shares in social media true crime

    The representation of social media use in other true crime narratives


    Deadlines


    Please send proposals of up to 500 words, plus a short biography of no more than 100 words including your name, affiliation and professional email address, to [log in to unmask] by Thursday 1st February 2024. Authors will be notified of the outcome by Thursday 29th February 2024. Full chapters will be 6000-8000 words in length.


    References


    Hobbs, Simon, and Megan Hoffman. Forthcoming. “It’s Not All R@p!s+$, M!rd3r3r$ and Ki!!3r$: True Crime Activism on TikTok.” In True Crime and Women: Writers, Readers, and Representations, edited by Lili Pâquet and Rosemary Williamson. Abingdon, England; New York, NY: Routledge.

    Hobbs, Simon, and Megan Hoffman. 2022. “‘True Crime and . . .’: The Hybridisation of True Crime Narratives on YouTube.” Crime Fiction Studies 3, no.1: 26-41. https://doi.org/10.3366/cfs.2022.0058.

    Horeck, Tanya. 2019. Justice on Demand: True Crime in the Digital Streaming Era. Detroit: Wayne State University Press.

    Jones, Bethan. 2023. “Forensic Fandom: True Crime, Citizen Investigation and Social Media.” In True Crime in American Media, edited by George S. Larke-Walsh, 163-79. Abingdon, England; New York, NY: Routledge.

    Kircher, Madison Malone, and Rachelle Hampton. 2021. “Did True Crime Influencers Really Help Solve The Death Of Gabby Petito?.” Slate, September 22, 2021. https://slate.com/culture/2021/09/gabby-petito-tiktok-interview-icymi.html.

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    CFP: Centre for Fantasy and the Fantastic, University of Glasgow

    November 9, 2023

    Centre for Fantasy and the Fantastic, University of Glasgow

    Deadline for submissions: 5th January 2024 (11:59pm)

    Conference date: 15th–17th May 2024 (hosted online)

    The Centre for Fantasy and the Fantastic is pleased to announce a call for papers for Glasgow International Fantasy Conversations (GIFCon) 2024, to be held online on 15–17 May, with the theme of ‘Conjuring Creatures and Worlds’.

    Fantasy is inherently an act of conjuration. When we create, dismantle, or engage with fantasy, we are conjuring magic: the impossible, the mysterious, the unknown, and the indefinable. Conjuring fantasy is an act of creation not necessarily defined by our existing modes of being or reality, yet it is always in conversation with our own world. Thus, when we enter fantastika, we necessarily enter a conjured world that invites us to reimagine fundamental aspects of our existence. One way it effects this is by encountering seemingly nonhuman creatures, through which we meet the magical, the uncanny, the monstrous, the Other, and perhaps most uncomfortably, ourselves. Brian Froud writes in Good Fairies Bad Faeries (1998) that “like any supernatural encounter, meeting a fairy—even one who is gentle and benign—is never a comfortable experience”. Samantha Langsdale and Elizabeth Coody argue in Monstrous Women in Comics that “the monster is difference made flesh”. The same is often true of the worlds these creatures exist in. Conjurations, then, are not wholly foreign; their components are knowable. Through fantasy we can conjure, and therefore communicate, with the necessarily mysterious, the otherwise ineffable.

    The act of conjuration is an ambivalent one, being both beyond and outside our own world yet inherently connected to it and therefore susceptible to the same limitations and preconceptions. In Race and Popular Fantasy Literature, Helen Young argues that “the logics of race and racial difference are so deeply ingrained in Western society that it is extremely difficult, often even for members of marginalised racial groups, to imagine worlds that do not have those structures.” Indeed, Fantastika has often been concerned with narratives where creatures “function as recognizable stand-ins for majorities and minorities and the inevitable conflicts that emerge between identity groups”. We are interested in explorations of marginalised identities, including creatures, systems of magic, and worlds concerned with (but not limited to) race, ethnicity, gender, queerness, class, and (dis)abilities. These conjured creatures and worlds offer an alternative viewpoint into other modes of identity and being. Additionally, the ways in which these fantasies are conjured is important. The medium through which the reader (in the broadest sense of the word) encounters and interacts with the fantasy affects its meaning.

    How do academics, creative practitioners, and fans conjure (and understand the conjuration of) fantasy, creatures and worlds? Fantasy and the fantastic have the capability to conjure the ephemeral and the horrific, the indefinable and the real, the Other and ourselves, but how do we understand these creations? And how do these encounters with creatures, magic, and worlds conform or challenge our understanding of the fantastic?

    GIFCon 2024 is a three-day virtual conference welcoming proposals for papers relating to this theme from researchers and practitioners working in the field of fantasy and the fantastic across all media, whether from within the academy or beyond it. We are particularly interested in submissions from postgraduate and early career researchers, and researchers whose work focuses on fantasy from the margins. We ask for abstracts for 20-minute papers. See our Suggested Topics list below for further inspiration. Please submit a 300-word abstract and a 100-word bionote via this form by January 5th, 2024, at midnight GMT.

    We also ask for workshop descriptions for 75-minute creative workshops, for those interested in exploring the creative processes of conjuring these creatures and worlds into being from a practice-based perspective. Please submit a 100-word description and a 100-word bionote via this form by January 5th, 2024 at midnight GMT.

    If you have any questions regarding our event or our CfP, please contact us at GIFCon@glasgow.ac.uk. Please also read through our Code of Conduct. We look forward to your submissions!

    Suggested Topics include, but are not limited to, the following:

    Fantasy texts and media by creative practitioners from marginalised backgrounds, and from beyond the anglophone and Anglocentric fantastic
    Creatures as corporeal and/or spiritual beings
    Worlds and magic as material or conceptual spaces, realms, or structures
    Multi-media representations of creatures, worlds, and creators
    Creating and recreating race, class, queerness, (dis)ability and other marginalised identities in fantasy
    Explorations and representations of the Other in fantastika
    Attraction to, repulsion or rejection of creatures and the nonhuman
    Depicting alienation, body dysphoria, body swapping and transformation in fantasy
    The anthropomorphising of objects and creatures
    Human and nonhuman binaries, hierarchies, and dynamics
    Conforming to and challenging conventional depictions of creatures e.g., mythic and supernatural traditions, folklore, fantastic tropes and iconic and archetypal characters
    Representations of fantastical creatures for example cryptids, fae, magical creatures, supernatural beings, the undead, humanoids, animals, hybrids, AI, extraterrestrials, demons, monsters, horrors, boogeymen
    Environments, alternate worlds, ecocriticism, posthumanism, the Anthropocene
    Conjuring futures and pasts
    Organic vs. artificial worlds, spaces and creatures
    Conjuring as a destructive or creative act
    Conjuring magic and magic systems
    How fandoms and scholars recreate, reinterpret, or conjure creatures, worlds and magic systems

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    CFP: 5th International Celebrity Studies Conference: Celebrity Crises and Conflicts

    October 24, 2023

    July 1-3, 2024

    University of Amsterdam, Amsterdam

    Routledge, Celebrity Studies Journal, and the University of Amsterdam are pleased to announce the fifth Celebrity Studies conference. The conference will take place in Amsterdam, July 1st to 3rd.

    The 5th International Celebrity Studies Conference will be themed ‘Celebrity Crises and Conflicts’. This subject will run through our plenaries and form a strand running throughout the conference.

    Fame is fickle, as the saying goes, but in current times, celebrity appears to be more in crisis than ever. The #MeToo movement has brought to light disturbing facts about the reality behind the celebrity façade. The conspicuous consumption associated with stardom is attracting increasing criticisms in an era of pandemic lockdown, austerity, and environmental crisis.  Developments in artificial intelligence are feeding an existential crisis of celebrity, too: is stardom now becoming a post-human phenomenon? Additionally, geopolitical conflicts, as well as polarizing debates on class, race and gender differences, have put stars under increased political pressures, and have resulted in vicious attacks on – and by – celebrities. Finally, more and more public figures are opening up about their mental health crises, raising awareness about the negative effects of fame – burn-out, depression, anxiety, the impact of hate speech, fat-shaming, or performance pressure.

    Together, these developments raise urgent questions about the current and past status of celebrity, such as: what do celebrity crises and conflicts tell us about the social, political, economic, and cultural dimensions of stardom? What can we learn about current, as well as historical, celebrity crises and conflicts? What impacts do they have on the study of celebrity as an academic endeavor?

    The conference welcomes submissions from a broad range of disciplines that generate new ways of thinking and understanding celebrity: from film, television, literary, digital media, (art) history and theatre studies through to psychology, sociology, politics, etc.

    Keynote speakers will soon be announced on https://celebritystudiesconference.com/

    Possible topics include, but are not limited to:

    Contemporary celebrity crises and conflicts / historical celebrity crises and conflicts / stardom and technological developments / virtual stardom / celebrity feuds / stardom and mental health / political conflicts and celebrity / economic conflicts and celebrity / celebrity divorces and break-ups / attacks on celebrities / legal conflicts and stardom / celebrity scandals / celebrity and intersecting oppressions / stardom and sexism / disgraced celebrities / conflicted celebrity / downsides of stardom / ‘cancel culture’ and celebrity / celebrity and the ‘cultural wars’ / celebrity and generationality/inter-generational conflict / celebrity deep fakes / celebrity and gamification / celebrity brand management / celebrity and platformisation / fan conflicts and celebrity / fan wars / fandom and celebrity conflict / celebrity and the pandemic / stars on lockdown / celebrity and industrial relations / celebrity and unions / stardom and synthetic media / celebrity and political crises / celebrity and climate crises / celebrity and war / celebrity and anti-fans / toxic fandom / destabilizing definition of celebrity / excessive media interest / social impact of political celebrities / weaponized celebrity / the conference team is open to other topics and themes, please get in touch if you have questions about potential approaches or topics.

    The conference committee invites proposals for :

    ·         Individual 20-minute papers:

    o   350 word abstract + 50-word biography in a single Word document

    ·         Pre-constituted panels comprising 3 x 20 minute papers:

    o   150-word overview + 3 x 350-word abstracts + 3 x 50-word bios + name of lead contact and panel chair in a single Word document

    ·         Masterclasses for Early Career Researchers (ERC) (advanced PhDs or early-stage postdocs): sessions, moderated by members of the conference organization team, will include informal discussion on work provided by the ERC and sharing of ideas in a safe and constructive environment; feedback will be offered from keynote speakers and relevant senior academics:

    o   Short outline of work (PhD thesis, chapter, project…) in progress: 150-350 words + 50-word biography in a single Word document. 

    Please abide by the maximum word limits.

    Stipends will be awarded to most promising abstract and best conference presentation by postgraduate students. Please indicate on your abstract if you wish to be considered for these.

    A special issue of the best papers from the conference will be published in Celebrity Studies Journal in 2026

    Deadline for all proposals: December 8th, 2023.

    Successful abstracts will be notified by: December 22nd, 2023.

    Enquiries/abstracts to: celebritystudies@gmail.com

    More information (on conference fees etc.): https://celebritystudiesconference.com/

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