*CFP* "LOOKING INTO THE UPSIDE DOWN: INVESTIGATING 'STRANGER THINGS'", ONE DAY SYMPOSIUM UNIVERSITY OF LEEDS

Heavily inspired by science fiction, horror and ‘coming of age’ narratives from the 1980s, Netflix’s Stranger Things (2016-) follows the supernatural adventures of four young teenage boys; Mike (Finn Wolfhard), Will (Noah Schnapp), Lucas (Caleb McLaughlin) and Dustin (Gaten Matarazzo). The boys come across a girl with telekinetic powers, named Eleven (Millie Bobby Brown), who has escaped from the government run Hawkins Laboratory. They reveal the dark intentions of the lab, its scientists and the existence of an alternative dimension of monsters they nickname the Upside Down. The show is one of Netflix’s most successful ventures into original programming and has garnered both popular and critical acclaim. This conference seeks to explore Stranger Things' wider significance within the canon of cult television. Cult narratives are often associated with “empathetic audience identification with subversive characters” (Kinkade and Katovich 1992: 194), “trans-genericism” (Ross and Stein 2008: 8), and the inclusion of what Hills has termed a “hyper-diegesis” or “a vast and detailed narrative space, only a fraction of which is ever directly seen or encountered within the text” (2002: 137).

Kevin J. Whetmore Jr.’s recently published edited collection primarily focuses on Stranger Things’ first season and covers such topics as contextualisation, gender and intertextuality but largely omits a consideration of the show’s position as a cult television narrative (2018). Stranger Things excessively references cult media texts and by doing so, has developed a cult fan following through its use of a vast “intertextual network” (Jenkins 1992: 40). This is also evidenced through the show’s extensive foray into merchandising, presence at fan-based conferences such as Comic-Con and Paleyfest and its recent invitation to be a part of the immersive ‘Halloween Horror Nights’ experience at Universal Studios theme parks.

*CFP* "ACTION CINEMA NOW", INTERNATIONAL CONFERENCE, READING AND LONDON UK

"Action Cinema Now", International conference, 12-14 April 2019, Reading and London UK. Keynote speakers:

• Professor Mary Beltrán
• Professor Chris Holmlund 
• Professor Gina Marchetti
• Professor Yvonne Tasker

At a moment when the relationship between popular culture, politics and society is again being sharply debated, action cinema as a dominant form of mass cultural production demands to be re-examined, as does the critical writing that has documented that form. Action films pose pressing questions about the extent to which a popular form can develop appropriate responses to the ethical dimensions of representation and marginalisation, particularly in a wider context of global multi-platform circulation. At the same time, they remain key sites of technological and aesthetic innovation and market negotiation shaped by complex local and global economic and cultural drivers.

*CFP* "DIAGNOSING HISTORY: MEDICINE IN TELEVISION COSTUME DRAMAS", EDITED COLLECTION

There has been a long relationship between television and medicine: some of the small screen’s most popular shows, on both sides of the Atlantic, have been medical in focus, from hospital-set dramas like ER to reality TV shows and docudramas like One Born Every Minute. This fascination with doctors, hospitals and bodies is also shared by period drama television, but scholarship has paid little attention to this intersection/relationship. Recent period dramas including The Knick, Mercy Street, and Charite, for example, use the hospital setting familiar from older shows like Bramwell, to address larger themes about the professionalization of medicine, medical innovations and failures, and the gender politics that surround the profession. Dramas like Call the Midwife document the progress of the NHS and female reproductive health while also engaging in contemporary debates about contraception, abortion, and disability. In addition, medical-driven narratives abound in almost every period drama on our screens today: war-induced mental and physical trauma in Peaky Blinders; Spanish ‘flu in The Village; gay conversion plotlines in A Place to Call Home; bodily and facial disfigurement in Home Fires; medical experimentation and monstrosity in Penny Dreadful and Frankenstein Chronicles; nursing as a vehicle of female emancipation in The Crimson Field and Morocco: Love in Times of War; and all of the above and many more in Downton Abbey, whose most famous plotlines are medical in nature.

*CFP* "LAS NUEVAS AMAZONAS: LA NUEVA FICCIÓN FEMENINA EN EL AUDIOVISUAL", REVISTA ADMIRA

Los relatos audiovisuales destinados al público femenino siempre han tenido una orientación muy determinada destinada a captar a ese sector de la audiencia, pero con poca vocación de llegar a los grandes públicos sobre todo al masculino. Estos eran creados por hombres, encontrando pocas mujeres como creadoras de productos mainstream. Sin embargo, a lo largo de este principio de siglo hemos sufrido una reconversión no solo de la visión de la mujer en el audiovisual comercial, véase la hipersexualización del pasado de las chicas Bond o de Lara Croft, sino a la entrada de autoras, directoras, desarrolladoras de videojuegos y creadoras televisivas que han dado lugar a textos destinados a un público femenino pero que el desarrollo narrativo y de producción siguen las pautas de ese audiovisual destinado al gran público.

En una encuesta reciente del Ministerio de Cultura se confirma que en España el desarrollo de la cultura a finales del siglo XX y principios del XXI ha recaído del lado femenino. Por otro lado, esto ha tenido una respuesta muy clara, las mujeres, de todas las edades son, a día de hoy, las mayores consumidoras de cultura. Esto ha llevado a la aparición y consolidación de personajes femeninos relevantes en todo tipo de obras, pero sobre todo un incremento de obras de ficción destinadas a mujeres creadas por mujeres o que tienen como origen textos creados por ellas. 

*CFP* "GAMIFYING NEWS: PLAYFUL APPROACHES TO PUBLIC ENGAGEMENT", SPECIAL ISSUE CONVERGENCE JOURNAL

Gamified and playful output that interacts with users (no longer audiences) is used pervasively to engage publics with the news agenda. Much of what is now communicated at a societal level has been subverted by the mechanics of social interaction and game-play, challenging legacy publishers and broadcasters to engage anew with their audiences, especially millennials, a generation accustomed to digital interactivity. The quality of public discourse needs to be scrutinised in the context of the take-up of these new technologies and new formats of journalistic distribution. Digital and AI (artificial intelligence) has the power to reinvent engagement with the public sphere through playful, social and immersive encounters, with the potential to both enhance and to diminish the importance of the content.  As such, ‘newsgames’, classified as a broad body of work produced at the intersection of videogames and journalism [1], present possibilities and limitations as they emerge as a more prominent platform. This special issue of Convergence, The International Journal of Research into New Media Technologies, seeks to interrogate these trends by examining the growth of ‘newsgames’ and playful approaches to journalism.

*CPF* CALL FOR PAPERS WORLD OF MEDIA JOURNAL

The journal World of Media. Journal of Russian Media and Journalism Studies (shortened – World of Media) is affiliated with the National Association of Mass Media Researchers (NAMMI), established in 2011 as a professional association of media and communication researchers.

The journal has been published annually since 2009. Since 2018, the journal appears on a quaterly basis (4 times a year). It represents a review of original research in the field of media and journalism studies conducted by authors from diverse cities and institutions. World of Media is aimed at promoting the development of media and journalism studies in both national and global contexts, and stimulating a wider public interest in the journalism theories, methods, findings and applications generated by research in communication and allied fields.

*CFP* "MIGRATION, EXILE, AND DIASPORA IN GRAPHIC LIFE NARRATIVES", SPECIAL ISSUE A/B: AUTO/BIOGRAPHY STUDIES

Graphic life narratives, especially memoirs, diaries, and auto/biographies in the form of comics, have flourished over the three decades since the landmark publication of Art Spiegelman’s Maus. As a distinct field that combines life narrative studies and comics studies, graphic life narrative scholarship has gravitated towards texts that visualize stories of the self in relation to memory, history, trauma, and reconciliation within familial, cultural, and national contexts. This special issue seeks to expand the scope of graphic life narrative studies to consider how migration, exile, and diaspora are prominent experiences in print and digital auto/biographical comics.

We invite submissions on graphic life narratives from both traditional centers of comics production (North America, United Kingdom, France, Belgium, Japan) and from under-studied regions (e.g. the Middle East, sub-Saharan Africa, South America, South Asia, the Caribbean). We are especially interested in submissions that take up issues of form as well as content within the transcultural contexts of graphic life narratives about migration, exile, and diaspora.

*CFP* "STRUGGLE FOR GENDER EQUALITY IN FILM INDUSTRY", EDITED COLLECTION

I am looking for abstracts for an edited collection, as yet untitled, that will explore the ongoing struggle for gender equality in film industries across the world. To date, our knowledge is incomplete and fragmented. While it is true that the gender gap in Hollywood is widely publicised and many are familiar with the work of the Swedish Film Institute, for instance, less is known about the position in other countries.

This book will, firstly, provide a comprehensive overview of the position of women in film industries in a variety of different countries. It will offer a wide-ranging, critical assessment of policy, practice, power and progress internationally. Each chapter will focus on a different country and critically assess the extent to which gender equality is being tackled there. For instance, some funding bodies may be applying formal gender policies – how successful has that been?  Has the wider industry supported such change?  Elsewhere, there may be a theoretical commitment to gender equality but disagreement as to appropriate intervention strategies. There are also countries in which gender inequality is denied or dismissed; a position that is being challenged by ongoing activism. All these experiences are relevant to our understanding of the international situation and will facilitate comparing and contrasting the pace and rate of change internationally.

*CFP* "DE CÓMO LA COPLA CANTA EL DESEO DE LA MUJER", X CONGRESO DE ANÁLISIS TEXTUAL TRAMA Y FONDO

Parte notable y notablemente viva de la cultura popular española, la copla ha sido durante décadas, salvo honrosas excepciones, injustamente ignorada por el mundo intelectual y académico, víctima de caducos prejuicios ideológicos que resulta obligado remover de una vez por todas.

Creemos, por eso, llegada la hora de escucharla, de pensarla, de tomarla en serio. De pensar su lugar en la vida cotidiana de quienes la han cantado, de quienes la han escuchado y de quienes, tarareándola, la han convertido en la música de fondo de sus vidas. Los antropólogos, los sociólogos y los psicólogos sociales pueden sentirse concernidos en ello.

Y porque, nacida antes de la guerra civil, siguió presente en la posguerra tanto en el interior como en el exilio y se hizo escuchar igualmente durante la transición, los historiadores pueden también sentirse interesados en ella. No menos los filósofos y los psicoanalistas, dada la intensidad con la que en la copla se escucha el deseo de la mujer en tantas de sus modulaciones. Y ello incluso en tiempos de los que se decía que a ellas les estaba prohibido nombrar su deseo.

*CFP* CALL FOR PAPERS VOL.7.2, REVISTA CARACTERES, ESTUDIOS CULTURALES Y CRÍTICOS DE LA ESFERA DIGITAL

Caracteres. Estudios culturales y críticos de la esfera digital es una publicación académica independiente en torno a las Humanidades Digitales con un reconocido consejo editorial, especialistas internacionales en múltiples disciplinas como consejo científico y un sistema de selección de artículos de doble ciego basado en informes de revisores externos de contrastada trayectoria académica y profesional. El próximo número (vol. 7 n. 2, noviembre 2018) está abierto a la recepción de colaboraciones.

Los temas generales de la revista comprenden las disciplinas de Humanidades y Ciencias Sociales en su mediación con la tecnología y con las Humanidades Digitales. La revista está abierta a recibir contribuciones misceláneas para el vol. 7 n. 2 de noviembre de 2018 dentro de todos los temas de interés para la publicación.

*CFP* CALL FOR PAPERS REVISTA CONSECUENCIAS, A JOURNAL OF SPANISH CRITICISM

The editors are excited to launch a venue for rigorous research that presents original and responsible interpretations of Spanish cultural production of all periods across relevant disciplines. We encourage the use of texts (from literary and visual arts to film, architecture, and other forms of cultural production) as principal evidence. Working primarily from an intensive reading of source texts, contributions should challenge accepted ways of reading in a spirit of collegiality and professionalism.

At the heart of this mission lies the following question: what happens when the interpretation of a text becomes normative, and is handed down from generations of professors to students without consistent interrogation? We believe that this has significant consequences. This journal is concerned with the renewal and constant development of thinking skills, the erasure of equality in difference, and the negotiability of received ideas and values.

*CFP* "AMÉRICA LATINA / ESPAÑA / EUROPA: AYUDAS INSTITUCIONALES Y COPRODUCCIÓN CINEMATOGRÁFICA DESDE 1990", Nº 76, ARCHIVOS DE LA FILMOTECA

Desde hace algunos años se han desarrollado en el campo de los estudios cinematográficos nuevos ejes de investigación centrados en las dinámicas contemporáneas de la financiación y la circulación de películas en un mundo globalizado, en el que las nuevas tecnologías digitales han permitido una fabricación y difusión cinematográfica mucho más rápida. Así, se han multiplicado los ensayos sobre el cine transnacional para proponer una reflexión sobre los contextos de producción y de circulación de los «cines del mundo» y sus estéticas. Estos trabajos evidencian las necesidades específicas de financiación para estos proyectos que acuden masivamente a las ayudas públicas y sin cuya participación les resultaría difícil financiarse y circular.

Europa ha protagonizado las batallas por la «excepción» y luego la «diversidad» cultural, cuyo vigor se ha visto reflejado en la creación de fondos de ayuda a la producción de cines «del sur» o «del mundo» que ha permitido el posicionamiento de Europa como centro alternativo frente a la dominación estadounidense. Al mismo tiempo, los países que más se han beneficiado de estas ayudas también tienen o han puesto recientemente en marcha (por primera vez en la historia, a veces) programas de fomento para la realización de sus cines nacionales. La conjunción de estas ayudas, pese a las restringidas dotaciones nacionales en la mayoría de los casos, genera unos públicos para un cine local, financiado con criterios europeos. Consecuentemente, dichos públicos resultan más receptivos a producciones europeas, lo que mejora sus posibilidades de exportación y difusión en países de Latinoamérica. El tema de la visibilidad del cine que se beneficia de estas ayudas europeas es fundamental, y lleva a preguntarnos hasta qué punto la impronta europea forma parte de su identificación por los públicos.

*CFP* I CONGRESO INTERNACIONAL DE CULTURA POPULAR, UNIVERSIDAD DE SEVILLA

Tenemos el placer de invitarle a participar en el I Congreso Internacional de Cultura Popular de la Universidad de Sevilla, que tendrá lugar en la Facultad de Comunicación de la US (Av. Américo Vespucio, s/n. 41092-Sevilla) los días 12, 13 y 14 de diciembre de 2018.

¿Qué es la cultura popular? Raymond Williams definió la cultura como “un modo de vida” y su vertiente popular se entiende en un sentido contemporáneo como aquellos conjuntos de manifestaciones comunicativas que caracterizan, cohesionan y distinguen a grupos y subgrupos de la sociedad en que vivimos. Más allá de debates sobre alta y baja cultura, cultura de masas y de élites o "high/mid/low-brow culture", el propósito de este congreso es observar la amplia gama de prácticas y fenómenos que constituyen la cultura popular desde el mayor número posible de perspectivas. Además, en esta primera edición del congreso queremos celebrar en particular los aniversarios de dos obras que han marcado fundamentalmente el panorama cultural desde sus respectivas apariciones: la novela "Frankenstein", de Mary W. Shelley; y la película "La noche de los muertos vivientes", de George A. Romero.

*CFP* I CONGRESO INTERNACIONAL DE GÉNERO FANTÁSTICO, AUDIOVISUALES Y NUEVAS TECNOLOGÍAS, FESTIVAL INTERNACIONAL DE CINE FANTÁSTICO DE ELCHE

El Congreso Internacional de Género Fantástico, Audiovisuales y Nuevas Tecnologías es una actividad de divulgación científica y académica que forma parte del Festival Internacional de Cine Fantástico de Elche – FANTAELX, y que cuenta con la colaboración de la Universidad MiguelHernández.

Su misión es la de difundir estudios de investigación dentro de las diferentes líneas temáticas del Género Fantástico, abarcando todas sus posibles variantes y plataformas: cine, televisión, teatro, literatura, cómic, videojuegos, realidad virtual, etc.

Los resúmenes de las Comunicaciones seguirán la línea temática principal del Congreso alrededor del Género Fantástico y su posible interconexión con las diversas plataformas de la cultura, el audiovisual y las nuevas tecnologías a través de estas cuatro posibles variaciones:

*CFP* "DIGITAL MEDIA & POLITICS: EFFECTS OF THE GREAT INFORMATION AND COMMUNICATION", SPECIAL ISSUE, JOURNAL OF BROADCASTING & ELECTRONIC MEDIA

Public discourse about socio-cultural, economic and political issues hascatalyzed a drastic shift in tone and tactics since the 2016 presidential election campaign cycle.  Through the constant output of news and information presented by cable news networks, broadcast networks, social media and the Internet, an unprecedented array of tailored communication strategies have emerged to target and influence the diverse constituents and voters across different socio-economic, ethnic and racial subgroups. In this early stage of the Web 3.0 environment, disrupted technologies – such as big data analytics and social bots – have the capacity to energize public opinion and exacerbate on-going information and communication divides in society.

This special issue aims at investigating a range of topics that will help identify the information communication, and persuasion strategies applied to influence the interactions between media, politics and society as well as the effects of such interactions.  Appropriate topics for submission could address a wide range of issues that impact public discourse on our democracy and way of life.   

*CFP* "CINEMATOGRAPH FOR INDUSTRIES AND IN COMPANIES (1890-1970): HISTORY, PLAYERS, USES AND CONFIGURATIONS", CAHIERS D'HISTOIRE DU CNAM SPECIAL ISSUE

This special issue of Cahiers d’histoire du Cnam looks at gathering contributions on industrial and business uses of cinema, from strategical choices such as widening the activities of firms (Antoine Lumière and sons’ “Society for photographic plates and papers”/Société de plaques et papiers photographiques), and industrializing sound recording (Pathé brothers company in the 1890s) or optical and photographic materials (L. Gaumont company in 1895), to transformations brought by the generalization of television then video in the 1970s. It aims at exploring ways in which industry and companies have used the cinematograph, as well as modes of organization and production this uses have generated.

Scholars studying from the perspective of cultural history, history of technology, history of economy, media and communication (non-exhaustive list) are welcome. Although the call is mostly rooted in French history, international perspectives are very welcome as well.

*CFP* "'TINKER TAILOR SOLDIER SPY': ADAPTATIONS, HISTORIES, LEGACIES", EDITED COLLECTION

What accounts for the ongoing importance of "Tinker Tailor Soldier Spy" in popular culture? First published in 1974, John le Carré’s novel has occupied an important place in the espionage imagination ever since, with a BBC television adaptation directed by John Irvin in 1979, BBC radio broadcasts in 1988, 2009 & 2016, and a film directed by Tomas Alfredson in 2011. The first in the Karla Trilogy, followed by "The Honourable Schoolboy" (1977) and "Smiley’s People" (1979), "Tinker Tailor Soldier Spy" continues the critique expounded in "The Spy Who Came in from the Cold" (1963) to focus upon, not the sexy, triumphant heroism and techno-fetishism of the Bond franchise, but the everyday paranoid underbelly of the secret service. Many have discussed the links between representation and reality as a structuring feature of both "Tinker Tailor Soldier Spy" and its author, who worked as a spy in his early professional life. Its central character, George Smiley, pushed from the Circus (fictional British intelligence agency) only to return covertly to investigate a mole at the very top of the organization, is a type of anti-heroic Prometheus figure bringing light to humanity through forms of deceit. Surrounding Smiley is the unstable edifice of the espionage trade: changing notions of empires and nations as new transnational forms appear; a spy trade being redefined within the dynamics of historical transformation; individual struggles for characters trying to make sense of their work and lives; nostalgia for times that modernity has subsumed in the name of progress; the increasing incursion of the security state into new areas of public and private life; the uncertain relation between truth and deception; and the search for a truth of which no one can any longer be certain.

*CFP* "IS IT OKAY TO BE GAY? HOW MAINSTREAM MEDIA CULTURE INFLUENCES GENDER & SEXUALITY", EDITED BOOK

Early representations of gay men in the U.S. are limited, and even the idea of female relationships virtually non-existent when it comes to general cinema and television. However, Vito Russo's Celluloid Closet: Homosexuality in the Movies (book, 1981; documentary, 1995) and Transgender Warriors: Making History from Joan of Arc to Dennis Rodman (1996) by Leslie Feinberg, show us how to view and analyze historical accounts. How far spread and successful has the movement been generally? The following '70s reference stands out as among the first, though the humor surrounding it is insulting, perhaps beginning or at least facilitating the trend of only mentioning purportedly alternative lifestyles within a mean comedic framework, whether though such characters' lips or about them from others. 

Reliably, "The Mary Tyler Moore Show" was early in introducing a gay character - and cautioning us about media conglomeration, as it happens. In the 1973 episode, "My Brother's Keeper," Phyllis' brother visits and he starts hanging out with Rhoda (Phyllis' nemesis). Phyllis is terribly upset about this but then becomes incensed when Rhoda tells her he's not her type. Phyllis extols her brother's virtues. When Rhoda adds that he's gay to her list, Phyllis' chin drops. But because she is so happy that this news means he isn't interested in Rhoda after all (or maybe because she is so blind-sided by it, or maybe because it was the '70s and we had Native American comedians on prime time and the workers had unions to protect their jobs, or, maybe just because it was the right thing to do), she doesn't seem to be bothered by her sibling being gay. This, at a time when being gay still ruined Hollywood and other careers.

*CFP* "MOON RISE", SPECIAL ISSUE, THE INTERNATIONAL REVIEW OF SCIENCE FICTION

The Science Fiction Foundation (Registered Charity No. 1041052) was founded in 1970 by the writer/social activist George Hay and others as a semi-autonomous association of writers, academics, critics and others with an active interest in science fiction, with Arthur C. Clarke and Ursula K. Le Guin as patrons. After the loss of Arthur C Clarke two new patrons have replaced him: Neil Gaiman (author) and and Professor David Southwood (one of Europe's leading space scientists). Our aim is to promote science fiction and bring together those who read, write, study, teach, research or archive science fiction in Britain and the rest of the world. We also support science fiction, at conventions, at conferences and at other events which bring those interested in science fiction together.

To mark the 50th anniversary of the first successful manned Moon landing, we invite articles for a special issue, examining how the Moon has been depicted since 1969 in science fiction. As Marjorie Hope Nicolson showed in her classic study of Voyages to the Moon (1948), fantasies of moon flight have been an integral part of world literature since classical times. Since moon flight became a reality, how have these stories changed? From adventure series such as Space 1999 to films such as Duncan Jones’ Moon and novels such as Ian McDonald’s Luna sequence, Earth’s satellite has remained a source of fascination. What does this fascination, though, reveal about our anxieties and desires since the colonisation of the Moon became a genuine possibility? 

*CFP* "FABIENNE KANOR IN TRANSGRESSION: DOCUMENTING, PERFORMING, WRITING, AND FILMING THE INSUFFERABLE", MULTIVOLUME ANTHOLOGY

Fabienne Kanor in Transgression: Documenting, Performing, Writing, and Filming the Insufferable. A Multivolume Anthology. This multivolume anthology project centers on Fabienne Kanor’s performance, literary, filmic and journalistic works through critical examinations of their embedded transgressive aesthetic.

 

Intended Focus:

This timely contribution is the first anthology focused on the body of work of award-winning author, filmmaker, and journalist Fabienne Kanor. It tackles the transgressive aesthetics that inform/arise from her filmic, literary, performance, and journalistic engagements. The multivolume anthology will foster a reading together of the literary, visual, and performing arts to arrive at a transregional, trans-genre, and transdisciplinary conversation in Africana studies writ large.

*CFP* BOOK REVIEWS, STUDIES IN POPULAR CULTURE

Studies in Popular Culture, a journal of the Popular Culture Association in the South, publishes articles on popular culture however mediated through film, literature, radio, television, music, graphics, print, practices, associations, events—any of the material or conceptual conditions of life. Its contributors, to date, from the United States, Australia, Canada, China, England, Finland, France, Ireland, Israel, Italy, Scotland, Spain, and the Turkish Republic of North Cyprus include distinguished anthropologists, sociologists, psychologists, cultural geographers, ethnomusicologists, historians, and scholars in comics, communications, film, games, graphics, literature, philosophy, religion, and television.

The journal Studies in Popular Culture publishes reviews of books in the field. If you are interested in reviewing a book submitted to the journal or would like to suggest one to review, please contact the Book Reviews Editor, Clare Douglass Little, at douglac2@erau.edu. If you have not already reviewed a book for the journal, please include either a CV or a brief description of your interests and qualifications in the email.

*CFP* "INTERRUPTING GLOBALISATION: HETEROTOPIA IN THE TWENTY-FIRST CENTURY", CHAPTER BOOK

Editors: Simon Ferdinand, Irina Souch and Daan Wesselman (the University of Amsterdam)

Can heterotopia help us make sense of globalisation? A heterotopia, in Michel Foucault’s initial formulations, describes the spatial articulation of a discursive order, manifesting its own distinct logics and categories in ways that refract or disturb prevailing paradigms. As part of the “reassertion of space” or “spatial turn” that has gathered pace in the humanities and social sciences from the 1980s onwards (Soja 1989; Warf and Arias 2009), the concept of heterotopia has enjoyed broad critical appeal across literary studies, visual culture and cultural geography (Dehaene and De Cauter 2008). Allowing critics to grasp how discourse and space fold together in the construction of enclosed or discrepant domains, the term has been applied to an enormous variety of real and imagined cultural spaces, ranging from Hashima Island to Melville’s Pequod, Ramadan festival to Kowloon Walled City. And yet, despite its popularity, the concept of heterotopia stands in tension with other critical approaches and spatial terms in cultural theory. If heterotopias are marked off by virtue of the discursive difference they embody, current concepts of world systems, planetarity and above all globalisation emphasise “the widening, deepening and speeding up of worldwide interconnectedness” (Held, McGrew and Goldblatt 1999, 2). 

*CFP* "IMAGES, CINEMA, THEORY, MEDIA", VOL.19 ISSUE 2/2018 EKPHRASIS

In recent years, we have been talking about semiopragmatics (Roger Odin), neuroesthetics (Murray Smith), psychocinematics (Arthur Shimamura) or bioculturalism (Torben Grodal). A number of scholars are associated with this approach to aesthetics and cinematographic discourse in terms of cognitive processes: Torben Grodal, Roger Odin, Noel Carroll, David Bordwell, Laurent Jullier, Edward Branigan, Joseph D. Anderson, Murray Smith, Ed Tan. This year we are editing a volume dedicated to the investigations related to the study of cinema and the visual arts from a cognitive framework.

Replacing accents, rephrasing questions, questioning the theoretical assumptions of the cognitive approach and testing them on different corpora, these are the few tracks that this issue proposes to initiate. Our volume intends to study, with an interdisciplinary perspective, the cognitive approaches acquired in neuroscience-related fields: psychology, philosophy, artificial intelligence or computer vision, literary theory, linguistics or sociology and their applications in the analysis of cinematographic discourse and the visual arts.

*CFP* CALL FOR PAPERS VOL. 20 (2019), CULTURA, LENGUAJE Y REPRESENTACIÓN CLR

Cultura, Lenguaje y Representación CLR, de la Universitat Jaume I, es una publicación de carácter científico-académico dedicada a la investigación en el área de los Estudios Culturales. Cada número aborda aspectos relevantes de la representación de la cultura en sus diferentes manifestaciones, con un especial énfasis en los acercamientos interdisciplinares e innovadores.

Esta revista provee acceso libre inmediato a su contenido bajo el principio de que hacer disponible gratuitamente investigación al publico apoya a un mayor intercambio de conocimiento global.

*CFP* "BLAXPLOITATION" SPECIAL ISSUE, JOURNAL OF POPULAR CULTURE

Between 1970 and 1975, black and white directors made so-called “Blaxploitation” movies to profit from African American audiences.  They took the film industry by storm in the brief period of time following the collapse of the studio system.  While films like Sweet Sweetback’s Baadasssss Song (1971), Shaft (1971), Super Fly (1972), and Foxy Brown (1973) earned substantial revenue at the box-office, demonstrating the value of the black movie going audience, many of the films were marred by controversy.  Some African American community leaders and organizations, critics, and scholars perceived them as overly reliant on sex, violence, and drug use. In conjunction with sudden glut and overexposure of these films and the emergence of the Hollywood blockbuster, the controversy ultimately led to the demise of Blaxploitation.  Just as quickly as Blaxploitation movies burst onto the cinematic landscape, they vanished, casting many of the movement’s major players into relative obscurity.  Importantly, left an indelible mark on popular culture as is evidenced by the period’s sustained influence in domains like filmmaking, television, new media, music, and fashion.

*CFP* CINEMA IN IRAN, PERSIAN LITERARY STUDIES JOURNAL

Persian Literary Studies Journal is a joint publication of Shiraz University. Published every six months, this peer-reviewed interdisciplinary journal is designed to comparatively explore and examine literary, artistic and cultural issues, and welcomes contributions with a cross-cultural, trans-national and trans-regional perspective.

In addition to original research papers, PLSJ publishes special issues, book reviews, article reviews, translation reviews and translations, as well as occasional reports.

 

The editors of PLSJ: Persian Literary Studies Journal are pleased to announce the call for papers for an upcoming special issue (Vol. 8) on cinema in Iran to be published in 2019. We welcome article submissions (5000-8000 words) addressing the following topics:

*CFP* COMUNICACIÓN DE LA CIENCIA EN IBEROAMÉRICA, REVISTA PERSPECTIVAS DE LA COMUNICACIÓN

La revista Perspectivas de la Comunicación abre convocatoria para número temático dedicado a la comunicación de la ciencia en Iberoamérica y en el que contamos para su coordinación como editor invitado con el Dr. Francisco López-Cantos, del Dept. de Ciencias de la Comunicación de la Universitat Jaume I de Castellón, España.

A lo largo de los últimos años se están incrementando los esfuerzos institucionales en la difusión pública de la ciencia, con el objetivo último de contribuir a que la ciudadanía participe en la implementación responsable del fruto de la actividad científica y resulte en mejoras significativas para el conjunto de la sociedad.

Sin embargo, uno de los discursos más prevalentes y extendido en todos los ámbitos sociales a los que se enfrenta el discurso científico y que cuestiona de manera directa la propia práctica científica es el conformado por una miríada de creencias y técnicas que, precisamente por su escasa o nula validez, denominamos genéricamente pseudociencias.

*CFP* COMMUNICATION / MEDIA / JOURNALISM STUDIES FOR KOME

KOME, an international Open Access journal published by the Hungarian Communication Studies Association is currently seeking articles forits 2018 and 2019 issues.

KOME is a theory and pure research-oriented journal of communication studies and related fields. Theoretical researches and discussions that help to understand better, or reconceptualize the understanding of communication or the media are its center of interests; being either an useful supplement to, or a reasonable alternative to current models and theories. Given the connection between theory and empirical research, we are open to submissions of empirical papers if the research demonstrates a clear endorsement of communication and/or media theories. KOME is also committed to the ideas of trans- and interdisciplinarity and prefer topics that are relevant for more than one special discipline of social sciences.