Posts Tagged ‘Conference’

CFP: Fandom After #MeToo/#BalanceTonPorc

January 24, 2022

 1 July 2022, The University of Chicago, Paris 

 Keynote speakers:
Kristina Busse (University of South Alabama)
Alexis Lothian (University of Maryland)
 

In late 2017, in the wake of the widespread scandals surrounding American film producer Harvey Weinstein, the hashtag #MeToo started trending on social media platforms such as Twitter and Facebook. Using this hashtag, primarily (though not exclusively) female victims of sexual harassment and sexual assault shared their experiences and decried the ubiquity of these experiences even in a supposedly modern and egalitarian world. 

Although the #MeToo hashtag has since been used to decry experiences of sexual violence in any context, the origins of the movement in the Weinstein scandal, and the subsequent sharing of the hashtag by various well-known actors, has ensured a continued focus of the movement on the entertainment industry. In the wake of the Weinstein scandal, actors/comedians such as Louis CK and Jeffrey Tambor also found themselves under public scrutiny in this context, with Tambor, for example, being fired from the Amazon Prime Video series Transparent in February 2018. 

Similar movements also developed in other national contexts, such as France, where the Dominique Strauss-Kahn scandal in 2011 prompted increased public discourse on sexual harassment and assault, and where the hashtag #BalanceTonPorc started trending at the time of the Weinstein scandal, explicitly inviting women to name and shame their harassers and abusers. The movement quickly gathered steam in France, but also received criticism, for example in a public letter in January 2018, which was signed by over 100 French women in entertainment and which denounced the movement as going too far and punishing core French values such as chivalry. The letter itself was heavily criticised, as well, with particular signatories issuing apologies a week later.  

Given this particular focus on the entertainment industry, it is not surprising that the global #MeToo movement has affected audiences and fans of media forms, including film, TV, music, video games, and more. Since fans often develop affective, parasocial relationships with the objects of their fandom–including the producers of particular content, actors, characters, etc–the accusations and scandals emerging in the wake of #MeToo have necessarily provoked discussion and even conflict within fan communities, have affected the ways in which fans relate to their fandoms, and have impacted even the “forms of cultural production” (Jenkins 2013, 1) these fans have proceeded to produce. 

In recent years, these effects have not been limited to accusations of sexual violence within the context of #MeToo movement; indeed, this movement has become part of a wider trend toward holding popular entertainment figures accountable for particular views considered morally unacceptable or damaging. An example of this is, for example, Harry Potter author J. K. Rowling, who has come under scrutiny since late 2019 for her purported views on civil rights for transgender people; these views have impacted the Harry Potter fandom in various ways, with particularly LGBTQ fans vowing to cease purchasing licensed Harry Potter products, alongside other reactions of a similar nature (Yehl 2021).  

While fan studies as an academic discipline has existed since the early 1990s and has since both proliferated and become increasingly mainstream in the anglophone world (Scott and Click 2018, 1) and in France (Bourdaa 2015), no academic work or event has yet confronted the important question of the impact of #MeToo, #BalanceTonPorc and their offshoots on fan communities and practices. This conference, then, aims to bring together international scholars interested in this issue. Potential topics for discussion may include, but are not limited to: 

  • Social media discussions and arguments between fans concerning revelations or accusations of celebrity sexual/sexist violence. 
  • Empirical research on fans’ reactions to such revelations/accusations. 
  • Accusations of sexual/sexist violence within fan communities.  
  • Representations of, or reactions to, #MeToo/#BalanceTonPorc in fan works (fan art, fanfiction, fan vids…).     
  • Representations of the #MeToo movement in media works (e.g. The Morning ShowPromising Young WomanBombshellThe Loudest Voice) and fan reactions to them. 
  • Attempts by celebrities accused of sexual or gender-based violence to appease their fans. 
  • Posthumous reconsiderations of specific celebrities in the #MeToo/#BalanceTonPorc era. 
  • Reconsiderations of past works (including characters, themes, stories…) in the #MeToo/#BalanceTonPorc era. 
  • The position of the “acafan” (Jenkins 2011) when the object of their research is accused of sexual or gender-based violence. 
  • Writing and rewriting film and media history in the #MeToo/#BalanceTonPorc era. 
  • Teaching film and media studies in the #MeToo/#BalanceTonPorc era. 

We invite abstracts of no more than 300 words for 20-minute papers, to be sent to eve.bennett@sorbonne-nouvelle.fr and l.lanckman@herts.ac.uk by 18 March 2022

Please also indicate if you would like to present your paper face-to-face (in Paris) or remotely. We hope that the Covid-19 situation will enable us to offer both options.

Symposium attendance will be free of charge. 

CFP: ECREA TV Studies Section MAB Joint Conference

January 31, 2015

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

Date: Monday 22nd and Tuesday 23rd JUNE 2015

Venue: University of Roehampton, London, UK

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

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

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

Plenary speakers
Liz Evans (University of Nottingham)

Giselinde Kuipers (University of Amsterdam)

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

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

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

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

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

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

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

CFP: Comics, Religion & Politics

May 15, 2012

http://www.lancs.ac.uk/fass/ppr/event/3960/

Date: 4th & 5th September 2012 Time: 9.00-18:00 pm

Venue: The Storey Institute, Meeting House Lane, Lancaster, LA1 1TH,

Alongside the continued popularity of political themes in comics recent years have also seen the rise of religious themes entering into the medium. The aim of this conference is to explore the relationship between comics, religion and politics in greater depth, to show how through the unique properties of the medium comics have the ability to be as thought-provoking as they are entertaining. The conference will examine the history and impact of religious and political themes, their relationship to audiences, and consider the future of such themes in all forms of sequential art narrative.

We invite papers that address religious and/or political themes in comic strips, comic books, graphic novels, or manga. Papers working at the interface of these two areas are particularly encouraged. Topics may include, but are not limited to:

  • Comics as social, religious, political text
  • Use of religious imagery and themes
  • Fan culture
  • Political cartoons and cartoonists
  • Gothic comics
  • Comics and magic
  • Representation of politics, religion, spirituality
  • Religious or political rhetoric of comics and their authors
  • Myths, legends, fables
  • Depiction of religious figures or politicians as comic characters
  • Comics and science fiction
  • Comics and propaganda
  • Comics and conspiracy theories
  • Representation of apocalypse, utopia, dystopia
  • Representation of war
  • Superheroes and religious, political identity
  • Theoretical approaches to the study of religion, politics in comics

Contributions are sought from researchers at any stage of their careers. Abstracts (300 words) for papers 20 minutes in length should be sent with a short biography to Emily Laycock (Department of Politics, Philosophy & Religion) at e.laycock@lancaster.ac.uk

Deadline for abstracts: 31st May 2012

Venue: The conference will be held at The Storey Institute.

Storey Creative Industries Centre, Meeting House Lane,Lancaster, LA1 1TH,

UK

http://www.thestorey.co.uk/

Details of registration: TBA

Keynote speakers:

Dr Will Brooker, Reader and Director of Research, Film and TV, Kingston University

Mike Carey, English writer (comics, novels, film scripts, and TV shows)

Dr Lincoln Geraghty, Reader in Popular Media Cultures, University of Portsmouth

Contact: e.laycock@lancaster.ac.uk

Who can attend: Anyone

Doctor Who: Walking in Eternity

March 16, 2012

An interdisciplinary conference celebrating 50 years of adventures in time and space

Deadline for submission of abstracts: 1 September 2012
Conference dates: 3-5 September 2013
Venue: University of Hertfordshire

Keynote speakers will include:

James Chapman (author of Inside the Tardis: The Worlds of Doctor Who)
David Butler (editor of Time and Relative Dissertations in Space: Critical Perspectives on Doctor Who)
Matt Hills (author of Triumph of a Time Lord: Regenerating Doctor Who in the 21st Century)
David Lavery (editor of The Essential Cult Television Reader)
Lorna Jowett (author of Sex and the Slayer: A Gender Studies Primer for the Buffy Fan)

‘I’m a Time Lord. I’m not a human being. I walk in eternity.’

Since it first aired in the shadow of the assassination of John F. Kennedy on Saturday 23 November 1963, Doctor Who has become one of the most distinctive, powerful, varied, persistent and singular myths of the modern era. This quintessentially British television programme has developed a life far beyond the ‘one page of notes’ that was shown to its first producer, Verity Lambert, by BBC Head of Serials Donald Wilson and Head of Drama Sydney Newman.  Originally screened by the BBC from 1963 to 1989, Doctor Who was originally a cult favourite, notable for its low-budget special effects and its pioneering use of music.  In 2005 the series received a face-lift from executive producer, Russell T. Davies, and enjoyed a global resurgence winning the BAFTA Award for Best Drama Series in 2006 and five consecutive wins at the National Television Awards (2005-10) in the Drama category.  In 2011 Matt Smith was nominated for a BAFTA for his portrayal of the latest incarnation of the Doctor.  In short, Doctor Who, is a national and global phenomenon.

This conference will look at the Doctor Who phenomenon as it celebrates its 50th anniversary, bringing together figures who have worked on the show as well as journalists, writers and academics from a wide range of disciplines.

Proposals for 20 minute papers are now invited.
Papers will be considered on any Who-related themes. Abstracts of 300 words should be submitted by 1 September 2012 to

Steven Peacock:  S.Peacock@herts.ac.uk
Kim Akass:  K.Akass@herts.ac.uk

Media Across Borders

March 13, 2012

(please note that the abstract deadline, 2nd April, is in less than three weeks)

Media Across Borders:  The 1st International Conference on the Localisation of Film, Television and Video Games

Saturday 9th June, 2012 at the University of Roehampton, London

Launch event of the Media Across Borders network, funded by the Arts & Humanities Research Council (AHRC) as part of the Translating Cultures programme.

Confirmed speakers include amongst others, Kevin Robins, Jeanette Steemers, Lucy Mazdon, Laurence Raw, Jean Chalaby, Lothar Mikos and Pia Jensen.

The network aims to interrogate the myriad ways in which media content is translated and adapted across cultural borders. What happened, for example, when the UK TV series The Office was reworked for French audiences as Le Bureau? Or when Vishal Bhardwaj adapted Othello in the Bollywood musical Omkara? Or when the Tomb Raider video game had to be altered for the Japanese market? The practice of adapting media content across borders is spreading. Opportunities offered by digital technologies have accelerated creative borrowing, the franchising of media content has become firmly established.

The conference brings together academic scholars and industry professionals working in the field. It will address processes of media localisation and contemplate the broader significance of cultural translation within the creative industries. It will feature academic papers and roundtable discussions, and offer sufficient time for networking and discussions of future collaborations.

All proposals relevant to the theme will be considered, but particularly welcome are those engaging with:

– Cross-cultural remakes and adaptations
– TV Formats
– Video game localisation
– Media content franchising
– Transmedia storytelling
– Localisation through para-texts
– Fan appropriation across borders
– Cultural translation
– The universal and the particular

Abstracts of 300 words along with a short biographical note should be submitted by April 2 to mab@roehampton.ac.uk. Selected papers and case studies will be published in an edited collection.

For administrative queries please contact the network coordinator, Irene Artegiani, via the above email. For queries with regards to content please contact one of the conference organisers:

Miguel Bernal-Merino (Video Games), M.Bernal@roehampton.ac.uk, Tel. +44 20 8392 3799
Dr. Andrea Esser (TV Formats), a.esser@roehampton.ac.uk, Tel. +44 20 8392 3357
Dr. Iain Smith (Film), Iain.Smith@roehampton.ac.uk, Tel. +44 20 8392 3095