Currently viewing the category: "Calls for Papers"

Source: Department of English, University of Saskatoon
Deadline: February 10, 2020

 

20/20 Vision: Speculating in Literature and Film in Canada is a three-day international conference to be held at the University of Saskatchewan in August 2020. The conference aims to gather together scholars, authors, and members of the public who are interested in speculative writing in Canada. Works of this genre have provocative implications that challenge conventional visions of reality by alluding to future possible worlds. Despite their focus on the future, speculative works comment on the present and the past. They ask readers to consider environmental, technological, and political events and developments in the world today, and the impacts these may have on the world of the future. Speculative writing has proliferated in past decades, used by authors to represent and report on important societal concerns, such as relations of class, gender, and race, as well as issues of environmental destruction and political conflict.

In the Canadian context, speculative writing has become a powerful tool to interrogate patriarchal-colonial enterprises. Marginalized groups, including women, Indigenous peoples, members of LGBTQ2S+ communities, and others whose lives are inflected by cultural difference, use works of speculation to resignify a past marked by oppression, attest their identities, and create spaces of resistance and social change. The conference will invite a keynote speaker who can provoke discussion in these areas and help to strengthen the presence of diverse voices and emerging literary communities.

Speculative worlds have achieved popularity through media representations such as movies, television/internet series, and video games, some of which are adaptations of textual works. Conference organizers expect that participants will present their research on speculation in these media/genres as well as in published writings.

There will be space at the conference for writers of speculative genres to present their work to the public, at an open event on Thursday evening, and we hope to organize a workshop on aspects of speculative writing Saturday morning, for practitioners of the genre.

Following the conference, there will be a call for contributors to submit papers that expand on or respond to conference presentations and discussions, for publication in an essay collection. Featured in that collection will be an interview with the conference’s keynote practitioner of speculative writing. The collection will highlight the material accomplishment of the conference goals, which are to expand discussion and visibility of this literary genre, so significant for the contemporary era in which we live.

The conference is organized by members of the Department of English at the University of Saskatchewan. The organizing committee includes faculty and graduate researchers of speculative fiction and practitioners based in our MFA in Writing graduate program. For more information see https://artsandscience.usask.ca/english/.

 

Call for Proposals

20/20 Vision: Speculating in Literature and Film in Canada

AUGUST 20-22, 2020
UNIVERSITY OF SASKATCHEWAN, SASKATOON, CANADA

Speculative fiction, film, and television series are fast-growing genres, in part because they comment on the present. These genres ask readers to consider environmental, technological, and political events and developments in the world today, and the impacts these may have on the world of the future. They are often used by their creators to represent, report, and speculate on key societal issues, such as relations of class, gender, and race, as well as issues of environmental destruction and political conflict. In Canada, speculative writing has become a tool to interrogate colonial enterprises and open up spaces for marginalized groups, including women, Indigenous peoples, members of LGBTQ2S+ communities, and others whose lives are inflected by cultural difference, to assert their identities and create avenues for resistance. A variety of speculative worlds have achieved popularity through films and television/internet series, some of which are literary adaptations. 20/20 Vision: Speculating in Literature and Film in Canada invites researchers and creators in the year 2020 to present their own speculations about the futures and/or societies that are presented in various texts produced in or relating to Canada. What do speculative texts tell us? Which visions of “Canada” do we find in speculative texts? How do these visions reflect our own perceptions of the world? Does this kind of literary imagination help us achieve social change? 

Proposals for both papers and panels are invited. These can take a range of approaches related to speculative writing in Canada, including: 

  • Dystopian worlds
  • Utopian and anti-utopian worlds
  • Apocalyptic scenarios
  • Post-apocalyptic futures
  • Feminist speculations
  • Indigenous speculations
  • Decolonizing speculations
  • Speculative writing for children
  • Speculative poetry
  • Climate change and/or technological developments
  • Animals in speculative writing
  • Speculations on language and power
  • Disability in speculative writing
  • Gender and sexuality in speculative writing
  • Speculation and interdisciplinarity
  • Speculations on the screen: movies, documentaries, television and internet series, video games
  • Speculative adaptations
  • Speculative creation, including the writing of speculative fiction* 

*The conference will also host sessions in which creators of speculative genres will be invited to present their works. Authors and artists are invited to propose 20-minute creative pieces; these may involve readings from written works, visual instalments, performance pieces, or film presentations. 

Paper proposals should include the following:

  1. Your name, contact information (including email address and telephone number), and institutional affiliation.
  2. The title of your proposed 20-minute paper or presentation, AND a proposal of 250-300 words, identifying the works that will be your focus of your paper and outlining the argument to be presented OR describing your creative piece and the method of presentation or performance.
  3. A 50-word biographical statement. 

Panel proposals should include the above information for all participants. 

Please e-mail your proposal in a Word document to conference organizers Wendy Roy and Mabiana Camargo of the University of Saskatchewan at 2020vision@usask.ca by February 10, 2020

Conference acceptances will be emailed in April, 2020. For further information, please visit the website or send an email to 2020vision@usask.ca

After the conference, there will be an open call for expanded papers to be published in a collection of essays on speculations in literature and on screen in Canada.

 

Conference Program

We are pleased to announce that the invited keynote speaker for 20/20 Vision: Speculating in Literature and Film in Canada is Cherie Dimaline. She lives in Ontario and is a member of the Georgian Bay Métis Community. Her fifth novel, Empire of Wild, will be published soon, and she is currently working on the television adaptation of her 2017 bestselling novel The Marrow Thieves.​

The Marrow Thieves focuses on a young Indigenous protagonist and his created “family” in a near-future dystopian Canada. The novel won a Governor General’s Award (2017), Kirkus Prize for Young Readers (2017), Sunburst Award for Excellence in Canadian Literature of the Fantastic (2018), Burt Award for First Nations, Inuit and Métis Young Adult Literature (2018), and Amy Mathers Teen Book Award (2018). The Marrow Thieves was also a finalist for the White Pine Award and Trillium Book Award in 2018; it was shortlisted for CBC’s Canada Reads contest and appeared as a Book of the Year in lists by publications such as the Globe and Mail newspaper and the School Library Journal.

Further details about the conference program will be posted in spring 2020.

 

Fellini, Italy, CinemaInternational Conference on the Centenary of Federico Fellini’s Birth (1920-2020)

In the centenary of his birth, the Department of Italian Studies and the Cinema Studies Institute at the University of Toronto,and the Dipartimento di Storia, Antropologia, Religioni, Arte,Spettacolo of Sapienza Università di Roma La Sapienza are delighted to announce a joint conference on the work and legacy of late Italian film master Federico Fellini (1920-2020).

A number of volumes of recent publication have returned to Fellini’s cinema and assessed it from a variety of novel vantage points, testing its resilience against the latest contributions in critical theory and making a compelling case for the need of its reevaluation. For instance, in his Political Fellini: Journey to the End of Italy(Berghahn 2018), Andrea Minuz argues that, contrary to popular belief, the film auteur was not an aloof dreamer, but an artist who was profoundly immersed in his cultural milieu, pondering the questions of his time and responding to it with an honesty that was uncommon, often disarming, and certainly problematic. If Minuz focuses on secular institutions, Alessandro Carrera turns to religion in his Fellini’s Eternal Rome: Paganism and Christianity in the Films of Federico Fellini (Bloomsbury 2018), exploring the uneasy melange of paganism and Christianity in the works of the director, underscoring how life-affirming Franciscanism and repressive Counter-Reformation dogmatism co-exist and clash throughout Fellini’s catalogue. Ottavio Ciro Zanetti’s Tre passi nel genio: Fellini tra fumetto, circo e varietà(Marsilio 2018) focuses on Fellini’s interest in cinema’s sister visual and performing popular arts, of which the director was a both an early practitioner and a lifelong admirer. Moreover, books devoted Fellini’s films still appear in print with regular cadence, from Roberto Chiesi’s monograph 8 ½ di Federico Fellini(Gremese 2018) to Rosita Copioli and Gérard Morin’s edited collection Il Casanova di Fellini: ieri e oggi 1976-2016(Gangemi 2018). As this cursory look at the small sample of 2018 publications illustrates, the academic community is still actively engaged with Fellini’s work, continuing to produce a plethora of interventions aimed at refining at updating the already vast bibliography on the Italian master.

 

This joint bilingual conference seeks papers that (re)assess Fellini’s career and the legacy of his work, examining the complex network of (mediated) significations produced by his artistic collaborations and his personal relationships. Our ultimate goal is to evaluate the present state of Fellininan studies and perhaps anticipate their future developments on both sides of the Atlantic and across scholarly traditions. This event is articulated in two sessions: the first one, hosted by the Università di RomaLa Sapienza, will convene in the Spring of 2020 (25-26 May); the second, at the University of Toronto, will resume the conversation in the Fall of the same year (16-17 October). Confirmed keynote speakers: in Rome, for the Rome session are Stephen Gundle (University of Warwick); Frank Burke (Queen’s University, Emeritus) and Atom Egoyan (Filmmaker) will deliver the address in Toronto. The resulting proceedings will be published by Franco Cesati Editore as part of the Goggio Chair series in Italian Studies.

 

Various avenues of inquiry are welcome, including but not limited to:

 

  • Critical Reception, Film Theory, Film Analysis, Production Studies
  • Case Studies in Distribution and Circulation
  • Interdisciplinarity (Music, Visual Arts, Multi-and-transmedia projects)
  • Screenwriting, Literature, Language
  • History, Fascism, Italian Modernity
  • Architecture and Urbanism
  • Biopolitics and Ecocinema
  • Gender and Sexuality

 

Please submit proposals (250 words max) accompanied by a short bio (150 words max) to FedericoFellini2020@gmail.com by 1 September 2019, indicating for which session (Rome, Toronto, or both) you wish to be considered. Proposals should include a title and up to five keywords. For information about panel topics, assistance with proposals, and other questions about the conference program, please contact the organizing committee. We welcome the presentation or performance of creative works or artifacts. Proposals will be evaluated and selected based on their fit and scientific promise. Participants will be notified by 1 November 2019.

 

Organizing Committee

Andrea Minuz, Università di Roma La Sapienza

Emiliano Morreale, Università di Roma La Sapienza

Jessica Whitehead, University of Toronto

Alberto Zambenedetti, University of Toronto

 

Scientific Committee

Marco Bertozzi (IUAV – Venezia)

Frank Burke (Queen’s University – Emeritus)

Angela Dalle Vacche (Georgia Institute of Technology)

Manuela Gieri (Università della Basilicata)

Stephen Gundle (University of Warwick)

Gaetano Lettieri (Università di Roma La Sapienza)

Emiliano Morreale (Università di Roma La Sapienza)

Federico Pacchioni (Chapman University)

Veronica Pravadelli (Università Roma Tre)

Jaqueline Reich (Fordham University)

Luca Somigli (University of Toronto)

Vito Zagarrio (Università Roma Tre)

 


 

CFP: Italiano

 

Fellini, l’Italia, il cinema.

Convegno Internazionale Per Il Centenario della Nascita di Federico Fellini

(1920-2020)

 

In occasione del centenario della nascita di Federico Fellini (1920-2020), il Department of Italian Studies, il Cinema Studies Institute della University of Toronto, e il Dipartimento di Storia, Antropologia, Religioni, Arte, Spettacolo dell’Università di Roma La Sapienza sono lieti di annunciare un convegno congiunto per invitare gli studiosi a riflettere sull’eredità, le connessioni interdisciplinari e le nuove prospettive di ricerca e interpretazione del cinema di Fellini.

 

Vari studi di recente pubblicazione hanno riesaminato il cinema di Fellini da molteplici punti di vista, alla luce delle teorie e delle prospettive critiche più recenti, indicando in vari modi la necessità di una profonda rilettura di quest’opera. Ad esempio, in Viaggio al termine dell’Italia. Fellini politico(Rubbettino, 2012), Andrea Minuz sostiene che, contrariamente a quanto si è sempre creduto, Fellini non fosse solo un “sognatore distratto” e un “visionario”, ma un artista profondamente immerso nel suo milieu culturale, attento alle questioni culturali e anche politiche dell’Italia in cui è vissuto, alle quali rispondeva con un’onestà a volte disarmante ma certamente problematica. Se Minuz si concentra sulle istituzioni laiche e sul rapporto con la società italiana e la politica, Alessandro Carrera mette in luce invece la complessità della dimensione religiosa: il suo studio, Fellini’s Eternal Rome: Paganism and Christianity in the Films of Federico Fellini (Bloomsbury, 2018), esplora lo scomodo melange di paganesimo e cristianità nell’opera del regista, sottolineando come coesistano in Fellini la vitalità del francescanesimo e il dogmatismo della controriforma. Tre passi nel genio: Fellini tra fumetto, circo e varietà (Marsilio 2018) di Ottavio Ciro Zanetti è invece dedicato all’interesse di Fellini per le arti figurative e performative, in cui il regista si è cimentato all’inizio della sua carriera e di cui, com’è noto, è sempre stato un grande ammiratore. D’altro canto, volumi sul cinema di Fellini continuano a uscire con regolare cadenza, dalla monografia di Roberto Chiesi 8 ½ di Federico Fellini(Gremese 2018) alla curatela di Rosita Copioli e Gérard Morin intitolata Il Casanova di Fellini: ieri e oggi 1976-2016 (Gangemi 2018). La comunità accademica continua pertanto a interessarsi all’opera di Fellini, producendosi in una varietà di interventi che perfezionano e aggiornano la vasta bibliografia già esistente dedicata al maestro.

 

  Questo convegno congiunto (e bilingue) intende quindi dare spazio a proposte costruire nell’orizzonte di una rilettura del cinema di Fellini, esaminandone il sistema di rimandi e di significazioni (mediate) prodotte sia dalle collaborazioni artistiche che dalle relazioni personali e culturali. Gli incontri si propongono così da un lato di fare il punto sullo stato attuale degli studi felliniani, e dall’altro di immaginare sviluppi futuri all’interno delle tradizioni accademiche europee e nordamericane. Gli incontri si svolgeranno in due sessioni: l’Università di Roma La Sapienza ospiterà la prima parte nella primavera del 2020 (25-26 maggio), mentre la University of Toronto chiuderà i lavori nell’autunno dello stesso anno (16-17 ottobre). I keynote che hanno già confermato la loro presenza sono: Stephen Gundle (University of Warwick) a Roma; Frank Burke (Queen’s University, Emeritus) e il regista Atom Egoyan (filmmaker) a Toronto. Gli atti di entrambe le sessioni verranno raccolti in un volume pubblicato da Franco Cesati Editore nella collana Goggio Chair in Italian Studies.

 

Si invitano contributi di ampio respiro tematico, fra cui si segnalano i seguenti possibili approcci:

  • Teoria del cinema e analisi del film
  • Studi sulla produzione, la ricezione e la circolazione internazionale dell’opera di Fellini a partire da singoli case study
  • Interdisciplinarità (musica, arti figurative, progetti multi-e-trans-mediali)
  • Sceneggiatura, letteratura, rapporti tra Fellini e gli scrittori
  • Storia italiana, Fascismo, modernità e modernizzazione
  • Architettura e urbanistica
  • Biopolitica e ecocinema
  • Studi di genere e sessualità

 

Gli interessati a presentare una relazione dovranno inviare un abstract (250 parole max) corredato da una breve nota biografica, (150 parole max) all’indirizzo FedericoFellini2020@gmail.comentro il primo settembre 2019, indicando chiaramente a quale sessione (Roma, Toronto, o entrambi) desiderano partecipate. Le proposte devono includere un titolo e fino a cinque parole chiave. Per informazioni su possibili argomenti, assistenza con le proposte, e altre domande riguardo al programma del convegno, si prega di contattare gli organizzatori. Si sollecitano inoltre proposte di lavori creativi e artefatti. La selezione delle proposte si effettuerà in base alla qualità scientifica e alla pertinenza. L’esito sarà comunicato entro il primo novembre 2019.

 

Comitato Organizzativo

Andrea Minuz, Università di Roma La Sapienza

Emiliano Morreale, Università di Roma La Sapienza

Jessica Whitehead, University of Toronto

Alberto Zambenedetti, University of Toronto

 

Comitato Scientifico

Marco Bertozzi (IUAV – Venezia)

Frank Burke (Queen’s University – Emeritus)

Angela Dalle Vacche (Georgia Institute of Technology)

Manuela Gieri (Università della Basilicata)

Stephen Gundle (University of Warwick)

Gaetano Lettieri (Università di Roma La Sapienza)

Emiliano Morreale (Università di Roma La Sapienza)

Federico Pacchioni (Chapman University)

Veronica Pravadelli (Università Roma Tre)

Jaqueline Reich (Fordham University)

Luca Somigli (University of Toronto)

Vito Zagarrio (Università Roma Tre)

 

 

 

Call For Proposals: The (re)Making of a Movement: New Perspectives on the 1960s Counterculture

Abstract Submission: https://www.humber.ca/liberalarts-ifoa/call-proposals
Contact: daniel.hambly@humber.ca, jennifer.marotta@humber.ca
Submission Deadline: May 30, 2019
Conference Date: October 26-27, 2019
Location: Harbourfront Centre, 235 Queens’ Quay West, Toronto, Canada.
Host: Faculty of Liberal Arts and Sciences and Innovative Learning (FLA), Humber
College and the Toronto International Festival of Authors (TIFA)

Keynote Speaker:

Angela Davis
Activist, Author, Educator, and Scholar
 

It’s been 50 years since 400,000 people descended on Bethel, New York, for an event that became one of the most important cultural touchstones for a generation: Woodstock. As participants in an amorphous social movement the Woodstock Generation came to be defined in opposition to previous generations. Despite growing up in an era of incredible privilege, widespread government social programs, post-war housing and education, and increasing affluence, they rejected, or attempted to redefine traditional values. In theory, supporters of the counterculture rejected individualism, competition, and capitalism. Rejection of monogamy and the traditional nuclear family gave way to a communal ideal—disavowing individualism and private property in favour of shared food, work, sex. As historian Michael Doyle points out, the myth of Woodstock holds that “in a time of military conflict abroad, racial and ethnic strife at home, when a deep social division known as the ‘generation gap’ separated parents from children, nearly half a million young people removed themselves from proximity to these conflicts and went ‘back to the garden’ to try to ‘set their souls free’.” As such, Woodstock carries a certain symbolic weight for participants in the 1960s and 1970s counterculture movement and for anyone who looks back on the past fifty years with a critical eye.

The counterculture movement encompassed: the Civil Rights Movement, Free Speech, the New Left, Anti-war, Anti-nuclear, Feminism, Free school movement, Drug Culture, Environmentalism, Student Activism, Producerism, Gay liberation, the Sexual Revolution, and the rise of Hippies to innovations in fashion, music, film, and literature. The American poet John Perry Barlow once said: “I started out as a teenage beatnik and then became a hippie and then became a cyberpunk. And now I’m still a member of the counterculture, but I don’t know what to call that.” How have the various movements within the counterculture evolved over the past 50 years? What did hippies become? Who was the Sexual Revolution scripted for? How did the Civil Rights movement evolve? How did a generation that “dropped out” re-engage? How was this fringe culture appropriated by marketers? How challenging was it to live an ideal especially in light of the Cold War and rise of Reaganism?

Our conference committee welcomes individual presentation proposals of 300 words, and panel proposals (3 people max) of 900 words, based on any of the above themes.

This will be the sixth annual interdisciplinary conference held by Humber College’s Faculty of Liberal Arts and Sciences and Innovative Learning (FLA) of Toronto in association with the Toronto International Festival of Authors (TIFA), one of the most celebrated literary festivals in the world. It is located at the Harbourfront Centre, one of downtown Toronto’s major cultural and artistic venues.

Submit your proposal online: https://www.humber.ca/liberalarts-ifoa/call-proposals

 

CFP: Digital Feminist Activisms: The Performances and Practices of Online Public Assemblies

Editors: Dr. Shana MacDonald (University of Waterloo), Dr. Milena Radzikowska (Mount Royal University), Dr. Michelle MacArthur (University of Windsor), Brianna I. Wiens (York University)

With the rise of what Jessalyn Keller and Maureen Ryan have called “emergent feminism,” we are witnessing a moment marked by the “sudden reappearance” of strident critiques of gendered inequalities within popular discourse (2018, 2). More often than not, emergent feminisms are amplified online through social media by popular feminism and celebrity endorsements (BanetWeiser 2018, McRobbie 2009), which can problematically promote neoliberal values of individual consumer practices and competitive self-improvement as a forms of empowerment. And yet, access to social media has produced important and critical forms of feminist politics. In Notes Towards a Theory of Performative Assembly, Judith Butler (2015) advances the importance of bodies assembling in space as a form of protest that performatively asserts both “the right to appear” and demands “a livable life” for those in positions of precarity. While feminist visibility in the broader public eye has produced important dialogues, this politics of assembly simultaneously begs the question: “What about those who prefer not to appear, who engage in their democratic activism in another way?” (Butler 2015, 55). There are many valid and powerful reasons as to why feminist activists may want, or be able, to not appear given the dangerous climate of online spaces, rife with the violent misogyny of trolling culture. These forms of publicness and erasure are equally important to consider within current considerations of emergent feminist practices online.

This book seeks to gather provocations, analyses, creative explorations, and/or cases studies of digital feminist practices from a wide range of disciplinary perspectives including, but not limited to, media studies, communication studies, critical and cultural studies, gender and sexuality studies, performance studies, digital humanities, feminist HCI, and feminist STS. The book frames digital feminisms as forms of public assembly that are performative and theatrical; that is, performative in that they can offer, “a process, a praxis, an episteme, a mode of transmission, an accomplishment, and a means of intervening in the world” (Diana Taylor 2003, 15), and theatrical in that they are events that may include characters, plot, the invocation of an audience, and the collective labour of multiple collaborators. In this way, digital feminist practices foster counterpublics––communities that enable “exchanges…distinct from authority” that “have a critical relation to power” (Michael Warner 2002, 56). This book seeks to consider how digital feminist activism uses conventions of assembly, performativity, theatricality, and design to counter the individualizing forces of postfeminist neoliberalism while foregrounding the types of systemic change so greatly needed, but often overlooked, in this climate.

List of possible topics:

  • Feminist hashtag activism; feminist, anti-racist, decolonial, LGBTQ+ hashtag movements
  • Closed virtual feminist communities and safe(r) spaces
  • Feminist and post-feminist forms of digital culture
  • Intersectional feminism online
  • LGBTQ+ digital cultures
  • Black, indigenous, and people of colour (BIPOC) digital cultures
  • Transnational digital feminism
  • Popular and celebrity feminism online
  • Feminist responses to online misogyny
  • Feminism and post-feminism on Instagram and/or Twitter
  • Feminist, queer, and BIPOC meme
  • Feminist, queer, and BIPOC design
  • Gamergate and implications of online misogyny in game culture
  • Methodological and/or theoretical approaches to feminist digital culture

Please submit a 250-350 word abstract, a brief author bio, and any questions to Brianna I. Wiens (bwiens@yorku.ca) by May 30th, 2019. Accepted submissions should be 6000-7000 words and will be due to the editors by November 1, 2019.

References

Banet-Weiser, Sarah. 2018. Empowered: Popular Feminism and Popular Misogyny. Duke University Press.

Butler, Judith. 2015. Notes Toward a Theory of Performative Assembly. Cambridge, Massachusetts. Harvard University Press.

Keller, Jessalynn and Maureen E. Ryan (eds). 2018. Emergent Feminisms: Complicating a Postfeminist Media Culture. Routledge.

McRobbie, Angela. 2008. The Aftermath of Feminism: Gender, Culture and Social Change. Sage.

Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.

Warner, Michael. 2002. “Publics and Counterpublics.” Public Culture 14(1): 49-90.

 
TWO DAYS OF CANADA 2019: CANADIAN SCREENS
BROCK UNIVERSITY, ST. CATHARINES, ON
NOVEMBER 7-9, 2019
CALL FOR PAPERS
 
 
Conference Theme
The annual Two Days of Canada conference program committee is seeking proposals for papers that explore the shifting terrain of contemporary Canadian screens. As a reprise of the engaging gathering of scholars and researchers at ‘Two Days of Canada 2006: Television in Canada,’ we hope to survey the current state of research on texts and contexts across the multiple sites and screens that have emerged from within and beyond the traditional terrain of television. Contemporary Canadian screens include television, film, web platforms, social media, digital games and cell phones, among others. How is content being produced, consumed, interpreted, circulated and regulated across these various screen spaces?  What are the historical, social, political, cultural and technological contexts shaping Canadian screen production and consumption?  How can traditional film and television theory be applied to emerging screen texts and practices? What research methodologies and critical approaches are best adapted to the study of contemporary Canadian screens? ‘Two Days of Canada 2019: Canadian Screens’ presents an exciting interdisciplinary venue for exploring these key questions. 
 
Conference Paper Topics
We seek individual paper or panel proposals from scholars and graduate students presenting current research on the topics listed below, or on other themes and topics relevant to the understanding of contemporary Canadian screens. 
  • Shifting practices of screen content production
  • Transnational and transmedia storytelling on Canadian screens
  • Production practices in screen industries
  • Evolving contexts of Canadian screen content policies 
  • Emerging digital content and gaming industries in Canada
  • Canadian fan cultures
  • Screen spaces: proliferation of screens in the built environment
  • Screen genres in Canada
  • Co-production and globalization of Canadian screen content

Submission Format and Deadlines
Please submit a 250-word abstract of your proposed paper, along with a 50-word biographical statement about yourself, to the conference organizers at canadianstudies@brocku.ca. Proposals for a panel of three to five presenters comprised of separate abstracts for each paper are also welcome and may be submitted by a single contact person on behalf of the panel members.  

  • Proposals due August 2nd, 2019
  • Decisions communicated by August 15, 2019
  • Conference registration open on EventBrite, August 15, 2019
  • Early bird registration closes September 30, 2019
  • Final registration closes November 7, 2019  
 
For More Information
  • Contact: canadianstudies@brocku.ca.
  • Conference Program Committee: Marian Bredin, Brian deRuiter, Anthony Kinik, Peter Lester, Sarah Matheson.
 

***la version française suit***

The Neutral is excited to announce the call for papers for issue #2 on the theme of  Period. We hope you will distribute this call to graduate students and interested faculty. Please see text below or attached PDF (French translation included). Please email submissions to theneutralcinemajournal@gmail.com by June 30, 2019.

 
The Neutral is a new, peer-reviewed media studies journal based out of the Cinema Studies Institute at the University of Toronto. The Neutral is committed to a diversity of disciplinary approaches and media objects of study. It is published online at: www.theneutraljournal.com
 
Call for Papers: PERIOD
The Neutral Journal
University of Toronto
Period.
A special issue on Environmental Media and Punctuation.
 
A period is a temporal marker: it designates both the span of a duration and the instant of an end. In physics, a period is the recurrent temporal loop of a wave’s frequency; in history, it represents events artificially bounded by dates for narrative purposes; in gynecology, it is the colloquial expression of menstruation; in grammar, it terminates the sentence. For geologists, a period stretches to the length of a hundred million years and is subdivided into epochs. Hypothetical geologists, working a hundred million years from now, will be able to identify our epoch, now labelled the Anthropocene, thanks to traces left by climate change, extinctions, and radioactive isotopes in the paper-thin sedimentary layer that will represent our era. That the Anthropocene projects geologists into the future, far past the end of the world it simultaneously predicts, demonstrates some of the paradoxical logic bound up in its anthropocentric periodization.
 
The end of the world is unevenly distributed, occurring at different times for different beings and things. For instance, the world has already ended for a species of Hawaiian tree snail, Achatinella apexfulva. The last individual of the species died in captivity at fourteen years of age on New Year’s Day, 2019. On this day both the snail and the species it constituted came to a point, full stop. The extinction of this tree snail can be attributed to the introduction of an invasive species by the invasive species par excellenceHomo sapiens. The end of the world for the tree snail is therefore a part of the anthropogenic extinction event—thought to be, as Elizabeth Kolbert suggests, only the sixth such moment in the history of life on planet Earth.
 
Humanity is not living through the simultaneous, universal doomsday predicted by so many eschatological enthusiasts, but rather the uneven punctuation of species, narratives, epochs, and even islands. Many indigenous and colonized people, for example, are already living in a post-apocalyptic world. Though the Anthropocene is useful for representing the planetary scale of human influence, its imagination of the end is consistent with many human predictions and depictions of a universal apocalypse: namely, it presents “the end” as globally homogenous and simultaneous. We know, however, that western capitalist corporations are overwhelmingly responsible for environmental effects suffered predominantly by marginalized people in the Global South and elsewhere. In Future Remains: A Cabinet of Curiosities for the Anthropocene Rob Nixon asks, “Doesn’t lumping together under the sign of the human the average twenty-first-century Liberian and the average twenty-first-century American as agents of planetary change risk concealing more than it reveals?” (2018, 8). Though the West imagines an evenly distributed “end,” how might we reconceive the heterogeneity of the period, of “ends”? What can the study of media reveal about our current environmental period?
 
In light of these questions, The Neutral seeks submissions that deal with mediated imaginations of periods—as temporal significations that mark everything from the end of a sentence to the span of geological epochs—with a view to complicating traditional ideas about apocalypse generally, and the Anthropocene specifically.
 
Some potential avenues of investigation include:
  • Our understandings of such broad concepts as “the earth,” “nature,” “climate,” and “media” have become increasingly partisan and increasingly fixed—climate science is truth and the self-made destruction of the human is total and imminent, or climate science is untruth created and promulgated for the purposes of anti-industrial, anti-capitalist fear mongering. How has media worked to industrially, formally, and narratively construct and dismantle the ahistorical, western and anthropocentric teleologies of both of these perspectives?
  • Can attempts to re-articulate the idea of the Anthropocene steer us past some of its pitfalls? Are there merits to some of the proposed alternatives to the Anthropocene—such as: Bernard Stiegler’s Neganthropocene, Donna Haraway’s Chthulucene, and the Capitalocene—or are these geo-logisms just obscene?
  • How might the temporal and non-anthropocentric critiques of media archaeology (Jussi Parikka’s Geology of Media, for example) be brought to bear on the strictures of the geological record? Have historically underserved media forms offered potential avenues of inquiry that suggest signposts around our mediated obsessions with destruction and its immanence?
  • Serialized storytelling presents complications for the rhetorical period and periods in media. Whether the problem of what constitutes an ending of or in a series, the issue of periods of quality or weakness in a series, or the turning of a period into an ellipsis through cliffhangers, easter eggs, or post-credits scenes, the expansion of serialized storytelling in moving image media challenges classical conceptions of narrative structure and cohesion. How might our conceptualizations of seriality and narrative structure need to adapt to this transformation of the period into other rhetorical forms of narrative closure (or lack thereof)?
  • The body as a bearer of time: Surely, any marker of time is bound to chronicle time incompletely. The menstrual period, as a marker of duration and cycle—a stretch of days with monthly returns—is only a fractional account of the indefinite time of ongoing bodily operations. How is time catalogued or uncatalogued in the corporeal realm? In what ways do geological periods become inscribed on the body?  How is the concept of the period, in both marking out and terminating stretches of time, experienced through bodies on screen? How does the body mediate periods for us?

*       *       *

Please submit completed essays:
  • Between 5,000-7,000 words in length, including endnotes and citations
  • As a word document in Chicago style
  • To theneutralcinemajournal@gmail.com with the subject line “Period Submission”
  • With name and affiliation included in body of email only
  • By June 30th, 2019

 

The Neutral est un nouveau périodique d’études médiatiques évalué par les pairs. Issue de l’Institut d’Études Cinématographiques de l’Université de Toronto, The Neutra se dédie à l’étude d’objets médiatiques divers selon une approche multidisciplinaire. Le journal est publié en ligne au: www.theneutraljournal.com

Pour sa seconde édition, The Neutral sollicite des contributions pour…

Period.
A special issue on Environmental Media and Punctuation

Un point est un marqueur temporel qui désigne à la fois l’étendue d’une durée et l’instant d’une fin. Tout comme la period en anglais, le point est à la fois une portion de l’espace ou du temps déterminée avec précision et considérée abstraitement pour localiser un phénomène, ainsi qu’une portion de l’espace dont toutes les dimensions linéaires sont nulles. Au début du 19 ième siècle, la « période » désigne aussi simultanément la durée plus ou moins longue d’une manifestation physiologique, la fameuse période menstruelle par exemple, ainsi que la durée géologique, ces grandes divisions chronologiques de l’histoire de la terre, ellesmêmes divisées en époques. Cette période géologique permet plus spécifiquement d’imaginer un cadre structurel dans lequel d’hypothétiques géologues, travaillant à un million d’années du présent, seront vraisemblablement en mesure d’identifier notre époque que nous nommons Anthropocène grâce aux traces laissées par les changements climatiques, les extinctions, ainsi que les isotopes radioactifs présents dans les minces couches sédimentaires. Que l’Anthropocène projette ainsi des géologues du futur bien après la fin du monde qu’elle prédit simultanément démontre quelques-unes des approches paradoxales de cette périodisation anthropocentrique.

La fin du monde se déploie de manière inégale, s’organisant déjà autour de diverses êtres et choses. Par exemple, le monde s’est déjà conclu pour l’espèce d’escargot hawaïen Achatinella apexfulva. Le dernier individu de l’espèce est mort en captivité à l’âge de 14 ans au jour de l’an 2019. À ce moment, cet individu et son espèce ont atteint un point mort, une fin. L’extinction de cette espèce d’escargot peut être attribuée à l’introduction d’une espèce envahissante par l’espèce envahissante par excellence. Homo sapiens. La fin du monde pour l’Achatinella apexfulva fait donc partie de l’événement d’extinction anthropogénique – seulement le sixième événement du genre sur la planète Terre selon Elizabeth Kolbert.

L’humanité ne vit pas le jugement dernier simultané et universel prédit par l’argument eschatologique. Elle fait plutôt face à une extinction ponctuelle et inégale des espèces, des narratives, des époques et même des îles. Par exemple, plusieurs peuples autochtones et colonisés vivent déjà dans un monde post-apocalyptique. Bien que l’Anthropocène soit un outil utile pour représenter la dimension planétaire de l’influence humaine, sa caractérisation de la fin participe d’une tendance humaine à prédire et caractériser une apocalypse universelle : on y présente une « fin » globalement homogène et simultanée. Nous savons par contre que les compagnies occidentales sont largement responsables des effets environnementaux dont souffrent majoritairement les populations marginalisées du Sud et d’ailleurs. Dans son livre Future Remains : A Cabinet of Curiosities for the Anthropocene Rob Nixon demande : « Doesn’t lumping together under the sign of the human the average twenty-first-century Liberian and the average twenty-first-century American as agents of planetary change risk concealing more than it reveals? » (2018, 8). Bien que l’occident imagine une distribution simultanée de la “fin”, comment pourrions-nous faire le point et reconsidérer l’hétérogénéité de la période, des « fins »? Qu’est-ce que les études médiatiques peuvent nous révéler sur la présente période environnementale?

À la lueur de ces questionnements, The Neutral lance un appel pour des propositions d’article traitant de l’imagination médiatisée des périodes, ces points de repère qui forment des abstractions spatio-temporelles et marquent autant la fin d’une phrase que l’étendue d’une période géologique. Le numéro a pour objectif de compliquer nos idées traditionnelles du concept de période en général, et des périodes qui traitent de la fin de manière plus spécifique, de l’apocalypse à l’Anthropocène.

Voici quelques exemples d’approches potentielles :

  • Notre compréhension de sujets aussi vastes que « la terre », « la nature », « le climat », ainsi que la « médiatisation » se situe de plus en plus à l’intérieur d’une partisanerie rigide : d’un côté la science du climat est la vérité et la destruction humaine est totale et imminente; de l’autre la science du climat est une contrevérité véhiculée à des fins anti-industrielles et anticapitalistes. Comment la médiatisation a-t-elle pu construire et démantelé de manière industrielle, formelle et narrative les téléologies anhistoriques, occidentales et anthropocentriques de ces deux perspectives?
  • Est-ce que les efforts de redéfinition de l’Anthropocène nous aident vraiment à contrecarrer ses principales pierres d’achoppement? Est-ce qu’un bienfondé réside dans les propositions alternatives à l’Anthropocène qu’on retrouve chez Bernard Stiegler (Néganthropocène), Donna Haraway (Chtulucene) et Jason Moore (Capitalocene), ou est-ce que ces positions ne sont que des géo-logismes obscènes?
  • Comment les critiques temporelles et non anthropocentriques de l’archéologie des médias (Geology of Media de Jussi Parikka, par exemple) peuvent-elles nous aider à entrevoir les critiques de la périodisation géologique? Nos formes médiatiques historiquement asservies nous offrent-elles d’intéressantes avenues d’interrogation en tant que catalyseur de nos obsessions à l’égard de la médiatisation de la destruction et de son immanence?
  • La narration sérialisée complique à la fois la présente rhétorique de la période narrative ainsi que la périodisation générale des époques médiatiques. Qu’on se concentre sur ce qui représente la fin dans une série ou la fin d’une série; sur la problématique des périodes de qualités ou de faiblesses d’une série; ou sur la transformation de la période d’une série en ellipse à travers les procédés de cliffhanger, easter eggs, et de scènes cachées, l’importance de la narration sérialisée dans les médias audiovisuels vient déstabiliser nos conceptions narratives traditionnelles reliées aux principes de structure et de cohésion. De quelle manière nos conceptions de sérialité et de structure narrative devront-elles s’adapter à cette transformation de la période en de nouvelles formes rhétoriques de dénouement (ou d’absence de dénouement) narratif?
  • Le corps comme ancrage temporel : bien évidemment, n’importe quel marqueur temporel est destiné à échouer une tâche de représentation complète. La période menstruelle, en tant que marqueur d’une durée et d’un cycle – une étendue de jours à l’intérieur d’une répétition mensuelle – n’est que le compte-rendu fractionnel du temps indéfini des opérations corporelles continuelles. Comment cataloguons-nous le temps, ou comment renions-nous ce catalogage du temps, dans le domaine corporel? De quelle manière les périodes géologiques s’inscrivent-elles sur le corps? Comment les concepts de la période et du point (punctum) en tant que marqueurs de l’étendue d’une durée et de l’instant d’une fin sont-ils éprouvés par des corps à l’écran? Comment est-ce que le corps médiatise des périodes pour nous?

Veuillez s’il-vous-plaît soumettre des articles complets

  • entre 5000 et 7000 mots, incluant citations et notes de bas de page;
  • dans un format word, au format bibliographique Chicago;
  • à notre theneutralcinemajournal@gmail.com avec l’objet « Period submission »;
  • avec votre nom et affiliation inclus dans le corps de votre courriel seulement;
  • d’ici le 30ème Juin, 2019.
 

***la version française suit***

Deadline for submission is April 30, 2018.

Call for Submissions: “Animating LGBTQ+ Representations: Queering the Production of Movement”

Special Issue of Synoptique: An Online Journal of Film and Moving Image Studies

At the heart of animation is movement, and the expression of movement is negotiated differently across media. How then do LGBTQ+ communities reappropriate the specificities of animation, comics, videogames, and other forms of visual representations that rely on putting bodies into motion? How does animation support the emergence of social and political movements from within, between, and outside media production spaces? Since 2010, studies of LGBTQ+ representation in animation have steadily increased in number. From queer readings (Halberstram 2011), to media histories (McLelland, Nagaike, Suganuma, Welker 2015), to queer media makers (such as bisexual, non-binary creator Rebecca Sugar and other queer animators like Noelle Stevenson and Chris Nee), animation production has become a vital site for the study, performance, and persistence of queer media practices. Although much conversation has been devoted to queer readings of texts in transmedia movements, the people, circuits, and institutions of queer animated media production have attracted significantly less attention.  

By focusing on the “politics of movement,” we intend to grasp the convergence of 1) common techniques of animation in and across multiple media platforms, 2) means of mobile image production both amateur and industrial, and 3) social agendas in queer communities using the motion of images to negotiate their representation and place in society. While this issue will brush up against the various transmedia (narrative-based, Jenkins, 2008), media mix (image-based, Steinberg, 2012) and cross-media (toy-based, Nogami, 2015) models and their cultural geographies across the globe, our central aim here is to expand the knowledge and visibility of LGBTQ+ sociopolitical projects evolving conjointly with the creation and circulation of animated images. Producing movement in, across, and outside of media extends the synchronization of images to networks of commodities, territories, and peoples. Although an important amount of scholarship tends to address this question as the “queering of texts,” we seek another point of view coming directly from the creation of moving images itself. Such production practices are also imbricated in and respond to geo-political and cultural contexts. How then does the movement in between frames, vignettes, illustrations, and memes (to name a few examples) initiate social action (be it just to produce pornography for marginalized communities or to create conventions for amateur artists and publics to meet)? 

This issue of Synoptique: An Online Journal of Film and Moving Image Studies will focus on queer media practices and the politics of movement. When animating LGBTQ+ images, media creators are also mobilizing queer practices, communities, and identities. Therefore, we are particularly interested in analyses and testimonies that examine sites of queer media production and their animation techniques, strategies, and practices. We encourage contributions that examine the interactions of animation within media related to animation, such as comics and videogames, as forms of queer movement often overflow and interact throughout multiple media platforms (Hemmann, 2015). We also invite submissions of artwork either from queer-identifying artists and practitioners, or pieces that explore queer movement, embodiment, and existence. Interviews, manifestos, essays, and other forms of writing on animated movement in queer media making are warmly welcome, as are multimedia contributions. 

Suggested topics include, but are not limited to:

  • The industrial or amateur structures of LGBTQ+ images production
  • Movement in LGBTQ+ pornography and erotika
  • Queer movement in comics, visual novels, videogames, etc. 
  • The strategies and places of queered images (“Queer” Media mix, Marketing, Festivals, and Conventions)
  • Animated media production of the Global South (such as Brazilian Netflix show Super Drags)
  • Distribution networks for LGBTQ+ animated series (TV, platforms, VOD)
  • LGBTQ+ representations in animated media emerging from manga including both more mainstream (Boy’s Love, Yuri) and subcultural (so-called Bara or Gachimuchi) productions
  • Local LGBTQ+ communities and their struggles expressed through moving images
  • Queer movement across comics and animation
  • Decolonizing sexualities
  • Cosplay as queer (re)animation

 We use a broad interpretation of LGBTQ+ identity, including Lesbian, Bisexual, Gay, Trans*, Queer/Questioning, Two-Spirit, Intersex, Agender, Asexual, Pansexual, Genderqueer, Genderfluid, Non-binary, X-gender, Genderfuck, etc.

Essays submitted for peer review should be approximately 5,500-7,500 words and must conform to the Chicago author-date style (17th ed.). All images must be accompanied by photo credits and captions.

We also warmly invite submissions to the review section, including conference or exhibition reports, film festival reports, and interviews related to the aforementioned topics. All non-peer review articles should be a maximum of 2,500 words and include a bibliography following Chicago author-date style (17th ed.).

Multimedia works such as digital video, gifs, still images, or more (surprise us!) are also welcome. Works under 8MB may by hosted directly on the Synoptique site; anything larger must be uploaded to an external site (Youtube, Vimeo, etc). Please contact the Synoptique Board for more information on the procedures to submit artworks.

All submissions may be written in either French or English.

Please submit completed essays or reports to the Editorial Collective (editor.synoptique@gmail.com) issue guest editors, Kevin J. Cooley (kevin.cooley@ufl.edu), Edmond (Edo) Ernest dit Alban (ernestedo@gmail.com), and Jacqueline Ristola (jacqueline.ristola@gmail.com), by April 30. We will send notifications of acceptance by June 30.    

Synoptique: An Online Journal of Film and Moving Image Studies

www.synoptique.ca


Appel à contributions: Animer les représentations LGBTQ+ :
La production du mouvement sous une optique queer

Numéro spécial de Synoptique: An Online Journal of Film and Moving Image Studies

Au coeur de l’animation se trouve le mouvement, et l’expression du mouvement est traitée différemment à travers les médias. Ainsi, de quelles façons les communautés LGBTQ+ peuvent-elles se réapproprier les spécificités de l’animation, des bandes dessinées, des jeux vidéo, et d’autres formes de représentations visuelles se formant autour du corps en mouvement? Comment l’animation peut- elle supporter l’émergence des mouvements sociaux et politiques depuis l’intérieur et l’extérieur des espaces de productions médiatiques, ou entre ceux-ci? Depuis 2010, les études sur les représentations LGBTQ+ n’ont cessé de croître en nombre. Des lectures queer (Halberstram 2011), à l’histoire des médias (McLelland, Nagaike, Suganuma, Welker, 2015), aux créateur.rice.s de média queer (comme l’artiste bisexuel.le et non-binaire Rebecca Sugar, et autres animateur.rice.s queer tels Noelle Stevenson et Chris Nee), le domaine de la production d’animation est devenu un élément vital pour l’étude, la performance, et la persistance des pratiques médiatiques queer. Bien que les lectures queer de textes portant sur les mouvements transmédiatiques aient reçu une bonne part d’attention, celles consacrées aux personnes, aux circuits, et aux institutions d’animations médiatiques queer sont bien moindres.

En se concentrant sur la « politique du mouvement », notre intention est de cerner la convergence entre 1) les techniques d’animation communes à plusieurs plateformes médiatiques, 2) les moyens de production d’images mobiles, amateurs et industriels, et 3) les agendas sociaux des communautés queer faisant usage du mouvement de l’image afin de négocier leur place et leur représentation dans la société. Ce numéro touchera brièvement aux différents modèles tel le transmédia (fondé sur la narration, Jenkins, 2008), le média mix (fondé sur l’image, Steinberg, 2012), et le cross-media (foné sur les jouets, Nogami, 2015), ainsi que leurs géographies culturelles à travers le monde. Cependant, notre objectif principal est d’approfondir les connaissances et la visibilité des projets sociopolitiques LBTQ+ impliquant conjointement la création et la circulation des images animées. La production de mouvement de l’intérieur, à travers, et à l’extérieur des médias étend la synchronisation d’images aux réseaux de commodités, de territoires, et de personnes. Habituellement, une importante part des ressources académiques adresse ces questions sous l’angle de queering the texts; nous cherchons un autre point de vue venant directement de la création des images elle-même. Avec cela en tête, comment les mouvements entre les plans, les vignettes, les illustrations, et les memes, pour en citer quelques-uns, incitent-ils à une action sociale (pensons à la production pornographique pour les communautés marginalisées, ou à la création de conventions pour que les artistes amateur.rice.s et le public puissent se rencontrer)?

Ce numéro de Synoptique : An Online Journal of Film and Moving Image Studies se concentrera sur les pratiques médiatiques queer et la politique du mouvement. En animant des images LGBTQ+, les créateur.rice.s de média mobilisent également des pratiques, des communautés et des identités queer. Nous sommes donc particulièrement intéressés aux analyses et témoignages portant sur la production de média queer, ainsi que leurs stratégies, techniques, et pratiques d’animation. Nous encourageons les contributions examinant les interactions de l’animation dans les médias reliées à l’animation, telles les bandes dessinées et les jeux vidéos, étant donné que les mouvements queer se déploient fréquemment à travers plusieurs plateformes médiatiques (Hemmann, 2015). Nous invitions également les contributions d’œuvres artistiques provenant d’artistes queer, tout comme des œuvres portant sur le mouvement et l’existence queer. D’autres formes d’écritures en lien avec le mouvement animé à travers les médias queer sont bienvenues, tels l’entrevue, le manifeste, l’essai, ou encore les contributions multimédias.

Les sujets peuvent explorer, entres autres, les pistes suivantes :

  • Les structures professionnelles ou amateur.rice.s dans la production d’imagerie LGBTQ+
  • Le mouvement dans la pornographie et l’érotisme LGBTQ+
  • Le mouvement queer dans les bandes dessinées, romans graphiques, jeux vidéos, etc.
  • Les stratégies et la place des images queered (‘’Queer’’ média mix, commercialisation, festivals et
    conventions)
  • La production de média animé dans les Pays du Sud (telle la série Netflix brésilienne Super Drags)
  • Les plateformes de distribution pour les séries animées LGBTQ+ (télévision, internet, vidéo sur
    demande)
  • Les représentations LGBTQ+ dans les médias animés émergents du manga populaire (Boys’s Love,
    Yuri), au manga en marge (dénommé Bara or Gachimuchi)
  • Les communautés LGBTQ+ locales et leurs luttes mises en scènes à travers les images en
    mouvement
  • Le mouvement queer à travers les bandes dessinées et l’animation
  • Le cosplay en tant que (ré)animation queer

Nous utilisons une interprétation vaste de l’identité LGBTQ+, incluant l’identité lesbienne, bisexuelle, gay, trans*, queer/en questionnement, bispirituelle, intersexe, agender, pansexuelle, genderqueer, genderfluid, non-binaire, x-gender, genderfuck, etc.

Les soumissions pour la section avec comité de lecture doivent faire entre 5500 et 7500 mots et suivre les directives du Chicago Manual of Style (17e édition). Les images doivent être accompagnées d’une légende et de crédits photographiques. Nous accueillons également chaudement critiques et comptes rendus de conférences, festivals et expositions, et entrevues liées aux thèmes susdits. Les articles sans comité de lecture doivent faire au maximum 2500 mots, et inclure une bibliographie suivant les directives du Chicago Manual of Style (17e édition). Les éléments multimédias comme les vidéos, gifs, images ou autres (surprenez-nous!) sont aussi chaudement accueillis. Les éléments en deçà de 8MB peuvent être hébergés directement sur le site de Synoptique, tandis que ceux au-dessus de ce chiffre doivent être téléchargés sur un site externe (Youtube, Vimeo, etc.) Veuillez contacter l’équipe de Synoptique pour plus d’informations en regard aux procédures relatives aux soumissions d’œuvres artistiques.

Les contributions rédigées en français et en anglais sont acceptées.

Les articles et essais doivent être soumis au comité éditorial (editor.synoptique@gmail.com) par email aux rédacteurs invités, Kevin J. Cooley (kevin.cooley@ufl.edu), Edmond (Edo) Ernest dit Alban (ernestedo@gmail.com), et Jacqueline Ristola (jacqueline.ristola@gmail.com) avant le 30 avril. Nous vous informerons de notre décision avant le 30 juin.

 

***English version below***

Appel à propositions de textes
Kinephanos : Revue d’études des médias et de culture populaire
Au-delà de Netflix – Penser la diversité des pratiques et plateformes de télévision en ligne
Sous la direction de Audrey Bélanger & Stéfany Boisvert

Nous sommes à la recherche d’auteurs pour le prochain numéro de Kinephanos qui traite des services de télévision par contournement (over-the-top televisionI) et les plateformes de visonnement en ligne autre que Netflix. Il s’agit d’un numéro multi-disciplinaire, donc nous sommes intéressés par des articles traitant de plusieurs facettes concernant les plateformes de visionnement en ligne (les émissions produites, les stratégies de distribution, les aspects économiques, les catalogues, leur productions maisons, leur cote d’écoute, etc.).

Vous trouverez tous les détails concernant l’appel à propositions de textes dans le document ci-joint ou au
https://www.kinephanos.ca/2018/au-dela-de-netflix-penser-la-diversite-des-pratiques-et-plateformes-de-television-en-ligne-beyond-netflix-studying-the-diversity-of-practices-and-platforms-in-the-era-of-over-the-top-television/.

Nous attendons vos propositions de 500 mots au plus tard le 28 février 2019 au belanger.audrey@uqam.ca et boisvert.stefany@uqam.ca.

Prenez note que la revue Kinephanos accepte les texte en français et en anglais!

Au plaisir de lire vos propositions.

_____

Call for papers
Kinephanos : Journal of media studies and popular culture
Beyond Netflix – Studying the diversity of practices and platforms in the era of over-the-top television
Edited by Audrey Bélanger & Stéfany Boisvert

We are seeking contributions for an upcoming issue of Kinephanos that focuses on over-the-top TV services and streaming platforms other than Netflix. This issue of Kinephanos is multi-disciplinary, and therefore open to articles on any aspect of streaming platforms (their production or distribution strategies, their economics, their catalog, their in-house productions, their audiences, etc.).

There is more information in the attached document or access the website: https://www.kinephanos.ca/2018/au-dela-de-netflix-penser-la-diversite-des-pratiques-et-plateformes-de-television-en-ligne-beyond-netflix-studying-the-diversity-of-practices-and-platforms-in-the-era-of-over-the-top-television/.

If you are interested, please send a 500-word proposal before February 28th 2019 to belanger.audrey@uqam.ca and boisvert.stefany@uqam.ca.

Articles can be in French or in English!

 

CFP: Screening #TimesUp: Exploring Rape Culture in Hollywood Film

Editors: Dr. Lisa Funnell (University of Oklahoma) and Dr. Ralph Beliveau (University of Oklahoma)

Beginning in 2017, the #MeToo movement drew attention to the sexual assault, coercion, and harassment experienced by many individuals and especially women working in Hollywood. Over the last two years, actors have come forward to speak about their experiences, condemning the industry for silencing victims while safeguarding predators. This conversation about sexual conduct and safe working spaces has extended into other fields/industries via the #TimesUp movement as greater awareness is being raised about abuse of power and the victimization of employees. While Hollywood is serving as a microcosm for broader social discussions about sexual assault, coercion, and harassment in the workplace, less attention is being directed towards film content—i.e. the products being produced by said industry. As a global cinema, Hollywood creates some of the most profitable films that are widely screened not only in the United States but also across the world. Culture binds individuals and institutions together, shapes public consciousness, and sends powerful messages about what is to be considered appropriate conduct. Over the last 100 years, Hollywood has played a key role shaping social ideas associated with gender, sex, and power.

A consideration of sexual violence in Hollywood film—be it real, threatened, or suggested—is the focus of this anthology. Sexual assault, coercion, and harassment are so pervasive in Hollywood narratives that they often go unnoticed. For instance, rape revenge is not only an exploitation subgenre but also a storyline featured in horror, thriller, road, and criminalist films. The threat of sexual assault is used as a trope to convey the vulnerability of even the strongest and most muscular female heroes in action films while the depiction of sexual harassment and aggression in relation to class differences and workplaces is a frequent narrative element. Moreover, sexual harassment is often depicted as romantic when a rejected “suitor” continues to pursue/stalk their target. Sexual coercion plays a central role in spy films as agents manipulate, intoxicate, and/or force their informants/targets to have sex with them sometimes secretly filming the encounter. And in some cases, filmmakers with a known history of sexual violence continue to work in the industry and produce films that relay troubling messages about appropriate sexual conduct. These films, tropes, and practices work to normalize and naturalize aspects of rape culture oftentimes at the expense of marginal/minority groups.

We are calling for papers exploring any facet of sexual assault, coercion, and harassment in Hollywood film. Some topics include but are not limited to:

  • tropes of sexual violence in specific genres (e.g. rape revenge, action, rom-coms, etc.)
  • historical considerations of sexuality and rape (e.g. classical Hollywood, new Hollywood, etc.)
  • filmmakers who employ excessive/frequent images of sexual violence
  • shifting representations of sexual harassment
  • affirmative consent in film
  • narratives in which rape is justified (e.g. prisoner on prisoner)
  • romanticizing of inappropriate sexual contact (e.g. with minors)
  • myth of the artistic genius
  • rape jokes/gags in film
  • sexual violence against marginal/minority groups (based on race, sexual orientation, class, ability, gender expression, etc.)

Please submit a 250 word abstract along with a brief author bio to Lisa Funnell (lisa.m.funnell@gmail.com) by April 30. Please direct any questions to this email as well.

 

CineAction

Call for Submissions: Issue 100 – History of the Cinema

This issue explores the significance of the history of the cinema to its identity as an art form and entertainment and an interpretation of the past.

Spike Lee’s BlacKkKlansman integrates film history into the film with references to Birth of A Nation and Gone With the Windto speak of racism in the Hollywood cinema as well as contemporary racism in America. In doing so, he acknowledges the relevance of the medium’s past to the present and into the future. Like Martin Scorsese, Nicolas Winding Refn, Jean Luc Godard and others active in the preservation and promotion of film history, Lee reflects on film history and the shaping of an historical consciousness.

We welcome papers that address film history in the context of an individual film(s), a cinematic movement or a specific director or actor.

Florence Jacobowitz: fjacob@yorku.ca
Richard Lippe: rlippe@yorku.ca

EXTENDED DEADLINE: MARCH 31, 2019
 
For contributor’s guidelines, see cineaction.ca