*CFP* "PRACTICES OF DISPLACEMENT: MAPPING MIGRATION IN CINEMA, CONTEMPORARY ARTS AND CULTURAL HERITAGE", XVII MAGIS INTERNATIONAL FILM STUDIES SPRING SCHOOL

Practices of Displacement: Mapping Migration in Cinema, Contemporary Arts and Cultural Heritage.

XVII MAGIS International Film Studies Spring School 

March 23d - 26th 2019

Gorizia (Italy).

In occasion of the XVII edition of the MAGIS Spring School, the Cinema and Contemporary Arts section will address the ever-topical issue of migration and its manifold relationships to art (and film) making, curatorship and exhibition. As suggested by Bourriaud (2007), in a global scenario contemporary art can be seen as “a practice of displacement”, for the way it transcodes and translates signifying elements from one context to another. If interpreted in relation to migration as a social phenomenon, “human displacement” can constitute a challenge to artistic practices as well as archival and curatorial ones (Ring Petersen, 2017; Johansson, Bevelander 2017): whenever dealing with the representations and heritage of deterritorialized communities, artworks and art institutions become sites to negotiate cultural differences (Durrant, Lord, 2017).

*CFP* "BEYOND THE CONSOLE: GENDER AND NARRATIVE GAMES", LONDON SOUTH BANK UNIVERSITY

8/9 February 2019, at the V&A and London South Bank University, UK

The Centre for Research in Digital Storymaking at London South Bank University is organising a two-day conference to showcase and explore narrative games through the experiential and critical lens of gender. From tabletop live roleplay to mobile apps with user story creation platforms, from interactive performance to interactive fiction, narrative games create vibrant participatory communities. Since their modern incipience, narrative games are also contestedly gendered. Little Wars, a live roleplay strategy game book by H.G. Wells (1913) is subtitled: ‘for boys and for that more intelligent sort of girl who likes boys’ games and books'. Yet in the networked age, narrative games have also opened up a diversity of stories. Open source authoring tool communities empower personal game authorship (Twine, since 2008); classic game genres, such as live table top games, are reconfigured as journeys of becoming (Monster Hearts, 2012); commercial mobile apps place ‘Hollywood-calibre stories’ of melodrama at the centre of their social media games (Episodes, 2014); live action role play games (LARP) reflect and incorporate gender neutrality in their immersive game design (College of Wizardy, 2018); while interactive performances invite audience members to play at being a different gender (Disaster Party, 2017).

*CFP* "40 YEARS OF ALIEN", ACADEMIC SYMPOSIUM, CENTRE FOR FILM, TELEVISION AND SCREEN STUDIES, BANGOR UNIVERSITY UK

An academic symposium hosted by The Centre for Film, Television and Screen Studies, Bangor University, UK. Friday 24 May 2019.

Alien has left an indelible mark on popular culture. Conceived primarily to cash in on the popularity of science-fiction films in the late 1970s, directed by a person known for making adverts (Ridley Scott) and starring an unknown actor in the lead role (Sigourney Weaver), it transcended its humble origins to frighten and disturb audiences on its initial release. Its success has led to three direct sequels, two prequels, one ‘mashup’ franchise, a series of comic books, graphic novels, novelisations and games, and has an enormous and devoted fanbase. For forty years, Alien (and its progeny) has animated debate and discussion among critics and academics from a wide variety of disciplines and methodological perspectives.

Hosted by the Centre for Film, Television and Screen Studies at Bangor University, this symposium proposes to bring together scholars from diverse disciplinary backgrounds to explore Alien forty years since its release, debate its legacy and consider its position within visual culture.

*CFP* "FASHION, PHOTOGRAPHY AND THE EROTIC", FASHION, STYLE & POPULAR CULTURE JOURNAL

Fashion and photography have for long influenced how we look at sexuality. From the iconic and sexually charged advertisements of Calvin Klein and Benetton in the 1980s, to the heroin chic movement of the 1990s, the connection between fashion, photography and sexuality has been ever present. Recently the rise in popularity of the ‘fashion film’ as well as a growing trend for collaborations and crossovers by photographers, designers and artists have brought new dimensions to this subject matter, further blurring the lines between fashion, fine art and pornography.

Whether perceived as distasteful, shocking, interesting, or thought provoking, it has nonetheless continued to be a highly relevant and influential reflection of the societal issues. This special issue of Fashion, Style & Popular Culture is aimed at all aspects of fashion and photography as they relate to contemporary sexuality, as well as their intersections with film, music videos and social media. The call is open to written manuscripts as well as visual art that fall within the category. All topics will be double-blind peer-reviewed.

*CFP* "TELE(VISUALISING) HEALTH: TV, PUBLIC HEALTH, ITS ENTHUSIASTS AND ITS PUBLICS", INSTITUTE OF HISTORICAL RESEARCH, LONDON

ERC Healthy Self as BodyCapital & Centre for History in Public Health London School of Hygiene and Tropical Medicine International Conference

Tele(visualising) Health: TV, Public Health, its Enthusiasts and its Publics

27 February- 1 March 2019

Institute of Historical Research, Senate House, Malet St, Bloomsbury,

London WC1E 7HU, UK

Televisions began to appear in the homes of large numbers of the public in Europe and North America after World War II. This coincided with a period in which ideas about the public’s health, the problems that it faced and the solutions that could be offered, were changing. The threat posed by infectious diseases was receding, to be replaced by chronic conditions linked to lifestyle and individual behaviour.

Public health professionals were enthusiastic about how this new technology and mass advertising could reach out to individuals in the population with the new message about lifestyle and risk. TV offered a way to reach large numbers of people with public health messages; it symbolised the post war optimism about new directions in public health.

*CFP* "MEDIA FEMINISMS / FEMINISM'S MEDIA: (RE)FRAMING MEDIA FEMINIST THEORY", HUMANITIES JOURNAL SPECIAL EDITION

The aim of this special edition of the Humanities is to (re)evaluate, (re)articulate and/or (re)introduce broad feminist viewpoints in contemporary media theory – with both ‘media’ and ‘theory’ broadly and interdisciplinarily conceptualised.

Whilst the meticulous contemporary work in feminist media studies reflects a wide variety of theoretical viewpoints and makes use of an even wider variety of methodological tools, it is the editors’ view that the compulsory anchoring of contemporary feminist theory to existing socio-economic, political and, most importantly, disciplinary constraints prevents us from freeing up critical work in the field to address the challenges that are yet to come.

Therefore, we invite colleagues working in media, literature, philosophy, politics, history, sociology, gender studies and related fields, to submit imaginative proposals that would articulate broad theoretical positions capable of framing feminism(s) and feminist media theory in the twenty-first century – or, indeed, question the very need for such ‘framing’. We also invite work that produces critical research through practice.

*CFP* "LIKE AN ANIMAL: REFUGEES, ANIMALS, AND MULTICULTURALISM", EDITED VOLUME

We would like to invite you to contribute with a chapter to a new co-edited volume titled ‘Like an Animal’: Refugees, Animals, and Multiculturalism. Communication scholars are very much welcomed to this multidisciplinary volume.

The volume explores the unexamined links between human migrants/refugees and nonhumans (refugees in their own right) during global migration crises. The volume’s goal is to open an interdisciplinary and multicultural discussion on the structural, symbolic, and discursive logics behind the human-animal divide as reflected and perpetuated in the case of human migration crises. Contributions will examine any of the intersections between human refugees and nonhuman animals’ interests, treatment, legal status, or media narratives and policies that target them in multicultural states: the EU, MENA, Latin America, and the US. Some of the questions we aim to address include:

*CFP* "INSIDE/OUTSIDE", SUMMER 2019 ISSUE SOUTHERN CULTURES JOURNAL

Southern Cultures, the award-winning quarterly of the UNC Center for the Study of the American South, is planning four special issues in 2019 to mark its 25th year of publication. The four themes— Backward/Forward, Inside/Outside, Left/Right, and Here/Away—will highlight where the South is coming from and where it’s going, who’s included and who’s left out, how it’s changing and how it’s not, what’s near and what’s far. We’d like contributors to interpret these themes broadly and creatively, mixing serious interpretations of the South’s history, future, space, and politics with reimagined takes on what these tropes should mean going forward.

We invite submissions from scholars, writers, and visual artists for our Summer 2019 issue, Inside/Outside, through November 15, 2018, at Southern Cultures submit.

Inside/Outside will explore and document the South’s communities and contours. What or where is the inside, and who are its gatekeepers? Who counts as southern? Who or what is included or excluded, and why? Which voices will be heard, and which will not? We’re looking for solidly grounded studies on major themes, speculations about what’s coming, reflections on the distant past or future, and snapshots of yesterday, today, and tomorrow. Who will be welcome?

*CFP* "BACK TO THE FUTURE: TELLING AND TAMING ANTICIPATORY MEDIA VISION AND TECHNOLOGIES", CONVERGENCE, THE INTERNATIONAL JOURNAL OF RESEARCH INTO NEW MEDIA TECHNOLOGIES

Digital media, networked services, and aggregate data are beacons of the future. These incessantly emerging tools and infrastructures project new ways of communication bring unknown kinds of information and open up untrodden paths of interaction. Yet digital technologies do not only forecast uncharted times or predict what comes next. They are, it seems, both prognostic and progressive media: they don’t await the times to come but realize the utopian as well as dystopian visions which they have always already foreseen. At the same time, all calculation of anticipations has to rely on past data that profoundly shape our ability to manage expectations and minimize uncertainties.

In these fast forward dynamics, the special issue of Convergence, The International Journal of Research into New Media Technologies examines the futuremaking capacity of networked services and aggregate data. We ask contributions to consider: What role do digital technologies and data play in the construction and circulation of future knowledge, e.g., through forecasting, modelling, prediction, or prognosis? What expectations and anticipatory visions such as promise or warning do accompany the creation and diffusion of new media? Over the course of history, which imaginaries of social and technological futures have been propelled by the media innovations at that time? How do new media technologies and discourses contribute to the production and reproduction of social time that is future oriented? How do they impact on the ability to exert control over the future?

*CFP* CALL FOR PAPERS JOURNAL OF HISTORICAL FICTIONS

The Journal of Historical Fictions, journal of the international Historical Fictions Research Network, is currently accepting submissions.

Narrative constructions of the past constitute a powerful discursive system for the production of cognitive and ideological representations of identity, agency, and social function, and for the negotiation of conceptual relationships between societies in different times and lived experience. The licences of fiction, especially in mass culture, define a space in which the pursuit of narrative and meaning is permitted to slip the chains of sanctioned historical truths to explore the deep desires and dreams that lie beneath all constructions of the past. Historical fictions measure the gap between the pasts we are permitted to know and those we wish to know, interacting between the meaning-making narrative and the narrative-resistant nature of the past.

The Journal of Historical Fictions welcomes proposals from disciplines as diverse as archaeology, literature, film, history, media studies, art history, musicology, reception studies, and museum studies. We encourage ambitious approaches of high quality, using new methodologies to support research into larger trends. The Journal aims to foster more theoretically informed understandings of the mode across historical periods, cultures, media and languages.

*CFP* "BITES HERE AND THERE: LITERAL AND METAPHORICAL CANNIBALISM ACROSS DISCIPLINES", EDITED COLLECTION

The organiser of the Bites Conference (University of Warwick, 17 November 2018) invites contributions for an edited essay collection, provisionally titled “Bites Here and There”: Literal and Metaphorical Cannibalism across Disciplines. I am interested in submissions that explore instances of literal or metaphorical cannibalism across fields, and we invite abstracts on topics and disciplines including, but not limited to:

• Survival and/or war cannibalism 
• Cannibalism as a ritual and/or a practice in archaeology, anthropology and history 
• Corpse medicine and the Eucharist as cannibalism in early modern discourse  
• Depiction of cannibalism in art, photography, film, other media, and in popular culture 
• Literal or metaphorical cannibalism in fiction such as travel writing, horror, graphic novels, etc. 
• Cannibalism in myths, (fairy) tales, legends, and folklore 
• Cannibalism and monstrosity, and monster theory 
• Literary and cultural cannibalism in literature, (post-)colonial studies, and philosophy 
• Metaphorical cannibalism to describe otherness, abuse of power, improper relationships, etc. 
• Cannibalism as a taboo and/or trope in socialisation, psychoanalysis, and criminology 
• Corporate and market cannibalism and economy 
• Zoological cannibalism and ecology

*CFP* "MOMENTS IN TELEVISION: COMPLEXITY/SIMPLICITY, EPIC/EVERYDAY, SOUND/IMAGE, SUBSTANCE/STYLE", THE TELEVISION SERIES, MANCHESTER UNIVERSITY PRESS

These new volumes in MUP’s ‘The Television Series’ will take the form of edited collections of essays celebrating ‘Moments in Television’. Each volume will be organised around a provocative binary theme which we hope will inspire focused, impassioned contributions focusing on a wide range of television programmes. It is expected that each volume will contain nine essays of 8,000 words each.

The first proposed volumes are:

• Moments in Television:  Complexity/Simplicity 
• Moments in Television:  Epic/Everyday 
• Moments in Television:  Sound/Image 
• Moments in Television:  Substance/Style

We are seeking proposals for chapters. Each chapter should engage closely with one television programme in a way that captures the work’s particular achievements and persuades the reader of its significance in the TV landscape. Proposals should make clear within which volume (binary) the chapter would be included.

*CFP* "CENSURA Y FORMA FÍLMICA. EL IMPACTO DEL CÓDIGO HAYS EN LOS PRINCIPIOS ESTÉTICOS DEL CINE CLÁSICO CONTEMPORÁNEO", L'ATALANTE 28, REVISTA DE ESTUDIOS CINEMATOGRÁFICOS

Sin necesidad de justificar por ello los buenos viejos tiempos de la censura, no pocos estudiosos han señalado la coincidencia entre la denominada «edad de oro» del cine clásico y el periodo en que el Código Hays se aplicó con particular firmeza. Aparato represivo y esplendor del cine norteamericano se presentan inevitablemente ligados entre sí, lo que podría parecer paradójico si no supiéramos que toda erótica requiere del tabú, y que las puritanas prohibiciones del Hollywood clásico tal vez no redujeron el potencial placentero de su cine, sino que constituyeron, más bien, el fundamento de todo un modelo narrativo y de puesta en escena basado en la interrupción y la prórroga del deseo voyeur del espectador como fuente de placer.

Lo cierto es que el Código de Producción, conocido popularmente por trivialidades, se nos revela como un pilar básico del edificio hollywoodiense si tenemos en cuenta que aspiraba a regular aspectos en absoluto anecdóticos del proyecto cinematográfico clásico: durante más de treinta años, rigió sobre la representación de cuestiones tan centrales en cualquier relato como el deseo, lo prohibido, la transgresión o el mal, y sobre las atracciones visuales más primarias del cine como espectáculo, el sexo y la violencia. Tan ambiciosa regulación, por supuesto, afectó en primer lugar al contenido y el discurso de los textos fílmicos. Pero, al mismo tiempo, al establecer las formas legítimas de representación de los cuerpos y articular soluciones que permitieran abordar el pecado en sus historias, el Código tuvo que generar necesariamente un impacto más que considerable también sobre el estilo visual y narrativo que dominó durante décadas el cine norteamericano.

*CFP* "#TALKINGPOINTS: TWITTER AND CIVIC DEBATE", EDITED VOLUME WITH PALGRAVE-MACMILLAN

This is a final call for abstracts for this volume, edited by Dr Gwen Bouvier (Maynooth University, Ireland) and Dr Judith E. Rosenbaum (Maine University, USA). The CFP deadline is Tue 30 Oct, and abstracts should be 300-450 words. The volume is under consideration with Palgrave-MacMillan.

With its hashtags, trending topics, and 280-character messages, Twitter has become the place to watch ideas, movements, and communities develop and become part of a global consciousness. While some scholars and social commentators are excited at the increased visibility of groups and ideas commonly excluded from mainstream discourse, as well as the possibility of dialogue between groups, others have expressed concern about the presence of echo chambers and filter bubbles, as well as the lack of “real” interaction. This raises the question what discussions on Twitter actually look like. Is there real engagement? What voices are heard and magnified, and which ones are backgrounded, or missing altogether? What kinds of conversations unfold on the platform, and do they contribute to or even qualify as civic debate?

*CFP* NEW SERIES IN TELEVISION STUDIES, SEEKING PROPOSALS AT ANTHEM PRESS

The Anthem Series on Television Studies publishes scholarly works on a rapidly changing medium. It comprises of case studies that invite new understandings of television, highlighting research that fosters connections between aesthetics, technology, culture and society. Each case study relies on a range of production and national contexts to provide insight into the organizing principles of television across diverse programs. The series encourages debate about television as an innovative medium on multiple platforms in a changing world.

PROPOSAL INFORMATION

We welcome submissions of proposals for challenging and original works from emerging and established scholars that meet the criteria of our series. We make prompt editorial decisions. Our titles are published in print and e-book editions and are subject to peer review by recognized authorities in the field. Should you wish to send in a proposal for a monograph (mid-length and full-length), edited collection, handbook or companion, reference or course book, please contact us at: proposal@anthempress.com or contact Megan Greiving, Acquisitions & Communications, Anthem Press.

*CFP* "GENDER AND DIGITAL MEDIA: FRIEND OR FOE IN TIMES OF CHANGE", SPECIAL ISSUE, SOCIAL SCIENCE COMPUTER REVIEW

Time’s Person the Year (2017) was the Silence Breakers. The award recognizes efforts across the globe to raise gender issues including those related to sexual violence. This movement aligns with other movements challenging the ways in which women's voices are silenced or dismissed, as represented by the rise in discussions about mansplaining. 

This special issue will highlight the role of digital media in these movements as well as more generally the relationship between gender and digital media. Sometimes digital media enables, other times it limits or impedes. For example, #metoo raises awareness of sexual violence, but using the hashtag makes people vulnerable to further victimization from trolls. Pointing out incidents of mansplaining can help raise awareness of this issue, but is social media able to support reasoned discussion that can inform social change? Is the online sphere able to support a complex discussion about (gender, race, class, sexuality-based) inequality in our society and do those discourses yield practical solutions to this problem?

*CFP* OPEN CALL INTERAÇÕES JOURNAL, INSTITUTO SUPERIOR MIGUEL

Submissions for the new issue of the Interações Journal published by Instituto Superior Miguel are now open. The journal welcomes original articles that present research results and/or theoretical reflection in the different fields of Social and Human Sciences. Media and communication studies are welcome.

From an interdisciplinary editorial perspective, Interações' primary objective is to foster the reflection and diffusion of knowledge in the areas of Social and Human Sciences. The journal accepts articles of scientific investigation, reviews and critical essays, in Portuguese, English and Spanish.

Interações is ruled by the double-blind review standard, ensuring the anonymity of reviewers and authors throughout the review process.

*CFP* "MEDIA, TECHNOLOGY AND NEW GENERATIONS: REPRESENTING MILLENNIAL GENERATION AND GENERATION Z", LEXINGTON BOOKS

Even though the millennial generation, and now Generation Z, are two of the most educated and technologically savvy generations in U.S. history, compared with other generations, how they are, particularly millennials, are depicted in the media has not been widely studied (see, among others, Rose Kundanis and Paula Poindexter). For example, unlike previous generations, millennials are widely criticized for being self-centered, lacking curiosity and involvement in politics, mindlessly following cultural and fashion trends, and being victims of the consumer culture, as perpetuated by media outlets. We argue that while millennials are technologically savvy, capable of using different electronic devices and digital platforms, they often do not critically examine either the social and economic impact of these technologies or the ways they are individually affected by them.

Furthermore, we argue that they do not critically examine the political and cultural implications of their heavy media and technology usage and how various cultural groups are represented in mediated texts. As a result, they often lack critical media analysis techniques to evaluate their media usage and the messages embedded in mediated texts. These characteristics of millennials are often depicted in various television shows, films, and news, and other aspect of popular culture, advertising and fashion. 

*CFP* VOLUMES 28.1 AND 28.2, ANGLICA: AN INTERNATIONAL JOURNAL OF ENGLISH STUDIES

Anglica: An International Journal of English Studies is a peer-reviewed annual print and electronic journal under the auspices of the Institute of English Studies, University of Warsaw. We invite submissions on all aspects of Anglophone cultures and linguistics for our next issue to be published September 2019.

For Volume 28.1 we are interested in contributions from such fields as English, Irish, Welsh, Scottish, American, Canadian, Australian and post-colonial literature, theatre, film, critical theory, the arts, the media, history and social studies.

For Volume 28.2 we welcome contributions in various aspects of the synchrony and diachrony of English or/and its varieties, sociolinguistics, language contact, translation studies as well as articles comparing and contrasting English with other languages. The papers may represent various approaches to language studies.

*CFP* "TRUTH OR DEAR: TRUTH, KNOWLEDGE AND POWER IN THE DIGITAL ERA", SPECIAL EDITION DIGITAL CULTURE AND EDUCATION

The ‘truth’ has been much contested lately. While much has been made of ‘fake news’ and its impacts and implications, little has to date been made of the theoretical, ontological, and epistemological implications that arise. Digital platforms are creating communities that are using online affordances to challenge claims to truth, knowledge, and power by various establishments. This has manifested itself not only in the rise and re-emergence of rather extreme fringe communities such as the alt-right (Daniels, 2018) and ‘Flat Earthers’ (Dyer, 2018), but also in also in the use of social media by traditionally maligned communities such as LGBTQ youth (Gray, 2009, Jackson et al., 2017), asexual communities (Carrigan, 2011), or PoC communities (Florini, 2014). 

This complicated landscape prompts a number of broad question about the ontological and epistemological potential of the internet in a ‘post-truth’ era, such as who gets to have truth? Whose truths are reflected online and offline? What truths are preferred? To which truths should education align itself and why?

*CFP* TWO SPECIAL ISSUE PROPOSALS FOR COMMUNICATION & SPORT

Communication & Sport, a bi-monthly research journal published by SAGE Publishing in association with the International Association for Communication and Sport, invites proposals for two guest-edited special issues. Now in its 6th year of publication, Communication & Sport has established itself as a leading journal at the nexus of communication media studies and sport studies. In 2018, Communication & Sport was recognized with a prestigious PROSE Award as the Best New Journal in the Social Sciences. It received an Impact Factor of 2.395 (and 5-year IF of 2.896) and was ranked 14/84 in the Communication (Q1) and 17/50 in Hospitality, Leisure, Sport & Tourism (Q2), ahead of many strong established journals in both communication and sport studies. Please visit the journal website for more information about its Aims & Scope, the Editorial Board, and sample issues.

Proposals by prospective guest editors of special issues will be reviewed by Editor-in-Chief Lawrence Wenner and three Associate Editors (Andrew Billings, Marie Hardin, and David Rowe) in consultation with a distinguished international Editorial Board. Manuscripts for special issues will be solicited via open calls for submissions and undergo a double-blind review process under the supervision of the special issue editor(s) and Editor-in-Chief. We seek special issue proposals in two categories:

*CFP* "INTERFACES Y MEDIATIZACIONES ENTRE INDIVIDUOS Y COLECTIVOS SOCIALES", VOL.14 Nº 1, REVISTA INMEDIACIONES DE LA COMUNICACIÓN

Informamos que se encuentra abierta la convocatoria para publicar artículos y/o reseñas en el Vol. 14 / N° 1 (enero-junio de 2019) de InMediaciones de la Comunicación, revista académica publicada por la Facultad de Comunicación y Diseño de la Universidad ORT Uruguay.  

La mediatización es un proceso histórico por el cual delegamos en los distintos tipos de medios la relación con los otros, sean estos individuos particulares o colectivos más o menos identificables o anónimos. La evolución de las sociedades estuvo marcada por los modos en que estos procesos tomaron forma tecnológica y discursivamente.

Si la mediatización comenzó mucho antes de sus formas masivas, es durante el largo siglo que incorporó a los medios de captura indicial (ya sea para almacenamiento o para contacto: fotografía, cine, fonografía, telefonía, radiofonía, televisión, informatización) que estos procesos fueron paralelos a las mayores y más complejas transformaciones de la individuación y la colectivación de nuestras sociedades. Más aun, es altamente probable que ambos desarrollos sean en verdad planos de un único y mismo proceso.

*CFP* MEDIA CIRCULATION IN CIVIC LIFE AND POPULAR CULTURE, NEW BOOK SERIES DISTRIBUTION MATTERS

We are pleased to announce a new book series with The MIT Press, Distribution Matters. We welcome proposals and inquiries from scholars on this list. Forfurther information, please contact the series editors, Josh Braun and Ramon Lobato (details below).

DISTRIBUTION MATTERS

A new MIT Press book series

Distribution Matters explores how media content, ideas, and information move through the world — and to what effect.

Distribution networks — from postal services to social media platforms — affect in essential ways who has access to cultural resources, and on what terms. The Distribution Matters book series explores the impact of strategies, business models, and infrastructures for distribution across the media industries, including screen, print, broadcast, and digital media. It seeks to publish cutting-edge, critical scholarship that offers new ways to understand the movement of media through time and space.

*CFP* STEPHEN KING, SECOND ISSUE OF PENNYWISE DREADFUL JOURNAL

In Stephen King’s Gothic (2011) John Sears asserts that rereading King represents ‘an exercise in the extension of repetition, in the act of rereading an oeuvre already deeply structured … by its own engagement in the Gothic habit of rereading … To reread King would be to enter … and perhaps to become lost within, a labyrinth of intra- and intertextual relations, an immense and complex textual space’ (2). Sears’s framing of King’s writing is a critical response to David Punter’s question about the susceptibility of King’s writing to rereading (1996).

Proposals are invited for the second issue of Pennywise Dreadful, concerning the intertextuality that permeates King’s fiction, and the variant ways in which King’s work is both haunted by his literary and cultural heritage, and haunts contemporary configurations of Gothic and horror. This issue of the journal will extend some of the critical dialogues initiated at Rereading Stephen King: Navigating the Intertextual Labyrinth, open other prospective avenues of scholarly enquiry, and continue the process of addressing the lack of scholarship recognising King’s contribution to American letters. 

*CFP* "INCLUSION, EXCLUSION, AND AUSTRALIAN TV HISTORY", THEMED ISSUE OF MEDIA INTERNATIONAL AUSTRALIA

Abstracts are sought for a themed issue of Media International Australia from historians, screen studies scholars, sociologists, and scholars of broadcasting, gender, ethnicity, and the culture industries. This themed issue aims to bring together new research on the relationship between minorities, marginalised groups, and television in Australian history.

The editors seek to explore the issue of social inclusion by interrogating histories of diversity, of exclusion and oppression, and of struggles for representation, fair pay, and recognition both on and off screen. We are also interested in broader aspects of inclusivity and the Australian television industry, in histories of technological change, language, and policy since the advent of television since 1956. What have these histories meant for those working in the industry? What have they meant for TV viewers? How do they fit within the history of Australian television as an industry operating in an increasingly diverse and fragmented global media marketplace? And what do these histories mean for employers, for consumers and viewers, and for TV professionals working in the industry today?

*CFP* "RETHINKING, REMAKING, REIMAGINING: THE AMERICAN COWBOY IN A 21ST CENTURY CONTEXT", UNIVERSITY OF OKLAHOMA PRESS

Submissions are currently being sought for an upcoming anthology focused on the changing dynamics of the “Cowboy” as a central archetype of the American mythos. Submissions should interrogate aspects of the cowboy as a pop culture figure in the 21st century paying special attention to how the figure of the cowboy has been updated, altered, re-invented, re-interpreted, re-envisioned, or challenged in any genre of popular culture that utilizes the motif of the American West, the Wild West, or the Cowboy. This anthology seeks to bring together an interdisciplinary collection of essays engaging the idea of shifting dynamics of the cowboy legacy across social, political, and cultural landscapes.

One of the major goals of this collection is to get beyond the traditional venues of culture critique as it applies to the Western motif in popular culture—typically identified as film, television, literature, and fashion. Essays examining the Cowboy archetype in the context of the traditional venues will not be given less consideration, but this volume seeks to elevate the discussion beyond this scope by drawing upon less traditional areas of critique such as video games, graphic novels, animated short films, and other overlooked resources, including work that explores the exportation of the Cowboy mythology to other cultures.

*CFP* "CARS AND SCREENS: CINEMATIC AUTOMOBILITIES", SPECIAL ISSUE OF FILM STUDIES

Scholarship on the relationship of film to “automobility” has traced the historical and technological interweaving of film and cars. Much of this work has focused on American cultural inflections of these two technologies, from the genre of the road movie through those films documenting southern California hot rod subcultures. In the years since volumes like Autopia (Peter Wollen and Joe Kerr, 2002), Crash (Karen Beckman, 2010), and Zoomscape (Mitchell Schwarzer, 2004) explored analogies between automobility and the experience of cinema, the growth of in-car display screens, dash scams and other technologies has rendered that relationship more complex. So, too, has the use of personal screens in automobiles, the rise of driver-less and rider-sharing automobiles and a growing tendency to view the automobile as a challenge to doctrines of the pedestrian city. Elsewhere, in chic European films like Un homme et une femme (1966) or the opening sequence of The Italian Job (1969) the elegance of the modern automobile and picturesque character of European landscapes have fueled exercises of stylistic cinematic bravura.  Cinema and cars (and their attendant infrastructures, e.g., roads, bridges, gas stations, parking lots) have shaped our built urban environments, forming a symbiotic dyad, with the history of each marked by innovations that influence the other, leaping back and forth from screen to road. Both cars and films have changed our relationship to visuality, inflecting the ways we perceive the world, move through space and time, and in turn, experience (or expect to experience) distance and duration.

*CFP* CALL FOR PAPERS COLLECTION ON ALTERED CARBON

Abstracts are sought for a collection of philosophical essays related to the Netflix Original series Altered Carbon (2018). Since season two starts shooting in October and is supposed to be released in the first half of 2019, we feel that a collection of academic articles about the first season would be in order around the same time. One acclaimed academic publisher has already expressed interest in the collection.

Please note that we are referring to the live action series and not the 2002 novel written by Richard K. Morgan.

Altered Carbon is a substantially relevant series, which takes on a plethora of current issues, from the critique of neoliberalism, through the ethical aspects of biotechnology, up to the issues regarding thanatology. The Netflix-produced series provokes questions about what it means to be human in a world in which death basically does not exist, and the limits of defining the construction of identity, be it gender, sexual and ethnical. Primarily, it is a show about the relationship between the mind, the body and the machine. Altered Carbon stays true to cyberpunk’s ethos, as it metaphorically presents a reality dominated by consumerism, where one’s life expectancy is dependent on their economical status.

*CFP* "LIFESTYLE, HEALTH & FASHION BRANDING", SPECIAL ISSUE OF CRITICAL STUDIES IN MEN'S FASHION

This issue of Critical Studies in Men’s Fashion takes a holistic approach examining innovative methods in health, body aesthetics, design in men’s products, lifestyles, fitness, and fashion branding in the areas of marketing, merchandising and promotions. In this issue we examine ‘fashion’ as all new and innovative products that men use and/or wear. Historically, most of these issues have focused on empirical works associated with consumption and purchasing decisions. However, recent scholarship challenges old methods suggesting that cultural processes allow for us to really examine why men use these goods and consume them. 

In this issue we wish to find research and papers that examine using critical, ethnographic, individualistic, theoretical or interpretive methods, exploring the meaning behind these issues and how they are shaping the ways men practice fashion. For this issue, the interrelationships between ‘fashion’ design industries and their lifestyle and branded marketing will be discussed to imply that branding, merchandising and promotions are a key driving force that has changed and continues to change the entire men’s fashion industries.

*CFP* "CONJUGAL WRONGS: MARRIAGE, SEX, AND TEXT (1970 - PRESENT)", ONE DAY CONFERENCE NEWMAN UNIVERSITY, BIRMINGHAM (UK)

A one day conference at Newman University, Birmingham, UK. Thursday 17th January 2018. Author reading and Q&A with Kit de Waal, author of My Name is Leon (2016) and Trick to Time (2018).

This one day conference seeks to examine representations of marriage from the 1970s to the present across a range of cultural and spatial contexts. The institution of marriage has changed significantly across this period, starting with the Matrimonial Clauses Act 1973, and is currently undergoing major shifts with recent changes in marriage laws, inc. the introduction of civil partnerships and gay marriage. Marriage is, at its most basic, a legal union of two people but the social, cultural, religious and, increasingly, political motives and implications are central to its significance and value. What does it mean then when marriage ‘goes wrong’? What constitutes a ‘wrong’ marriage? To what extent might marital ‘wrongs’ function politically? This conference aims to explore how contemporary literature is presenting and responding to these questions. We welcome papers from the fields of literature and cultural studies which offer readings of violations of marriage laws or transgressive marital relations.

*CFP* "RADIO AS A SOCIAL MEDIA: COMMUNITY, PARTICIPATION, PUBLIC VALUES IN THE PLATFORM SOCIETY", ECREA RADIO RESEARCH CONFERENCE 2019

ECREA Radio Research Conference 2019: Radio as a Social Media: community, participation, public values in the platform society.

19-21 September 2019, University of Siena (Italy)

The next conference of the Radio Research Section of ECREA will be held at the Department of Social, Political and Cognitive Sciences of the University of Siena, from 19 to 21 September 2019. The 2019 theme is: Radio as a Social / Convivial Media: community, participation, public values in the platform society.

The topic

In the age of platformization of culture (Nieborg & Poell 2018) every media is being turned into a digital platform and every audience is being datafied and commodified. What is the role of radio within this new media ecosystem? Tim Wu (2011) showed how radio broadcasting too was eventually colonized by the ethos of profit, but along its history the radio medium has been able to partially escape its commodification and it has carved out a social role as a public service media and as a community/civic media, more open to audience interaction and participation than television and print media used to be.

*CFP* "SHORT CIRCUIT: BREVITY AND THE SHORT FORM IN SERIAL TELEVISION", COLLECTED VOLUME

As critics, creators and academics alike herald the new “Golden Age” of television, the accent has increasingly been placed on the excess inherent in the form, the temptation to “binge-watch” a single fiction over several hours, or the proliferation of narratives and storylines in American television’s “endless present” (which, unlike its British equivalent, is not traditionally designed to end at any specific point).

Melissa Ames (Time in Television Narrative: Exploring Temporality in Twenty-First-Century Programming, 2012) reminds us however that time is at the very center of the television narrative, and that television differs from its cinematic equivalent notably by its incremental approach to storytelling –alternately playing with and combining duration and brevity. Thus, in this publication, we would like to come back to what originally distinguishes TV series from films, i.e. their specific connection to shortness.

*CFP* "MIGRATION STUDIES IN THE DIGITAL ERA", ANTWERP 2019

Migration studies in the digital era. A workshop on qualitative digital research methodologies and the study of mobilities 

Antwerp 2019 

Thursday, Feb. 14th to Friday, Feb.15th, 2018

Organisers: Fiona Seiger and Christiane Timmerman

The digital is intertwined with most aspects of social life today and bears consequences for researching the social regardless of whether it is the researcher’s central topic of study or not. While questions pertaining to the importance and effects of technological innovations in social science research date back to at least the late 1990s, the speed at which new technologies and their practices develop, demands regular updates. This international workshop seeks to address how the digital features in our conception of questions about the social world with a particular focus on migration studies.

*CFP* "EL CÓMIC ESPAÑOL EN LA ENCRUCIJADA: DEL TARDOFRANQUISMO AL DESENCANTO", NEURÓPTICA, ESTUDIOS SOBRE EL CÓMIC

Neuróptica. Estudios sobre el cómic, invita a todos los investigadores interesados a participar en su primer número. Se admiten artículos hasta el próximo 1 de enero del año 2019, escritos en español, francés, inglés, italiano o portugués.  

La revista se edita a través del sistema Open Journal System (OJS). Todos sus artículos pasan por un estricto proceso de doble revisión por pares ciegos. Se encuentra refrendada científicamente y apoyada por el proyecto de investigación I+D “Estudio de la cultura audiovisual del Tardofranquismo (1970-1975). Proceso de modernización y transiciones en cine, fotografía, televisión, cómic y diseño”, por el grupo de investigación "Japón y España: Relaciones a través del Arte" y los grupos de referencia del Gobierno de Aragón "Japón" y "Vestigium". Se cuenta además con la colaboración del Departamento de Historia del Arte de la Universidad de Zaragoza y se están manteniendo conversaciones avanzadas para incluir la colaboración del Ayuntamiento de Zaragoza.

*CFP* "BRITISH WOMEN DOCUMENTARY FILMMAKERS 1930-1955", ARTS AND HUMANITIES RESEARCH COUNCIL ONE-DAY SYMPOSIUM

Proposals are invited for a one-day symposium to be held at the London School of Economics on 5th April 2019.

As the work of filmmakers including Jill Craigie, Kay Mander and Marion Grierson testify, women have played a significant part in the early decades of British documentary and informational film-making. Women were a vital part of the war effort and this was apparent in the films made by the Ministry of Information as well as newsreels, documentaries and dramas. Women also worked behind the camera as directors, editors and scriptwriters on instructional and propaganda films.Yet much early British documentary history on Grierson and the Documentary Movement tends to elide the ways in which non-canonical works engage differently with questions of the nation, gender, class and identity and the ways in which form and content are linked to context of production.

This one-day symposium seeks to deepen understanding of women’s creative presence in British documentary film-making. Papers may explore individual films and filmmakers, as well as the industrial, social and historical contexts in which they worked. While WWII has been foregrounded in accounts of women’s participation in British film production, the day will consider a longer historical period including the innovations in documentary of the 1930s and the changing industry of the post-war period.

*CFP* VI CONGRESO INTERNACIONAL MÚSICA Y CULTURA AUDIOVISUAL MUCA, UNIVERSIDAD DE MURCIA

En los últimos años asistimos a una auténtica revolución tecnológica con un impacto global en todos los ámbitos de la sociedad, desde las diversas formas de entretenimiento a la educación. La tecnología, en constante cambio y transformación, marca un ritmo vertiginoso que configura nuestra manera de ver el mundo, haciéndose necesaria una profunda reflexión sobre las nuevas maneras de aprehender la realidad.

Es innegable que, en este mundo audiovisual, la música alcanza un papel protagonista; no es ésta una revolución muda y esto es notable si atendemos, por ejemplo, a la importancia de la música en los dispositivos móviles y las tecnologías de la comunicación, su impacto en las novedosas formas narrativas en el espacio de la ficción audiovisual o su protagonismo en la publicidad y en los nuevos modos de creación, recepción y difusión musical a través de internet. 

Tras el éxito de las anteriores ediciones de MUCA, la Universidad de Murcia acogerá los días 14, 15 y 16 de febrero de 2019 el VI Congreso Internacional Música y Cultura audiovisual MUCA que, nuevamente, constituirá un foro de intercambio científico con la participación de compositores, artistas audiovisuales e investigadores procedentes de diversas instituciones nacionales e internacionales. 

*CFP* "INTERACTIVE ANIMATION AND VIDEO GAMES", CANTERBURY ANIFEST 2019 ONE-DAY RESEARCH SYMPOSIUM

Interactive Animation and Video Games

Friday 8th  March 2019, Canterbury Christ Church University, Augustine House, Room AH3.31

A one-day research symposium hosted by Canterbury Christ Church University that will take place as part of Canterbury Anifest 2019

As definitions of animation expand to encompass a wide range of image-making technologies and multimedia practices, the question of interactivity has supported recent critical excursions into the medium’s digital present as much as its potential future. The increasing popularity of virtual and augmented realities speaks to the growing prominence of interactive engagements between spectator and animated artefact. Whether superimposing computer-generated images onto the real world or simulating entirely digital realms, the collapse of real and fictional animated spaces has promised new kinds of immersive virtual experience. The educational potential of state-of-the-art augmented reality displays in museums and art galleries has extended the project of such “interactive animation” even further. Visitors are able to navigate virtual reality, interact with 3-D scans of curated objects and explore innovative digital spaces as part of increasingly immersive learning experiences. 

*CFP* "DUBBING AT TRANSLATING BOLLYWOOD IN EUROPE: A COLLOQUIUM", AHRC DE MONTFORT UNIVERSITY

The ever-growing distribution of Bollywood films worldwide, and in Europe, brings into focus the translational practices of dubbing and subtitling as crucial elements that affect the reception of this cinema abroad, as well as the role they play as cultural filters of one culture to another. In the past few years, the use of Indian accents in Bollywood cinema have caused dissent on the way specific linguistic cultures have been depicted and translated, problematising the use of multilingualism and its nuances in India. Thus, is cinema a universal language? 

Against this backdrop, it is important to interrogate if the polyglot Bollywood industry produces cultural alignment or disconnection with the original intended language and its broad cultural backdrop. “Dubbing at Translating Bollywood in Europe: A colloquium” is the first AHRC event that seeks to bring together scholars and early career researchers working broadly on the study of languages in popular Hindi cinema. 

1ª SESIÓN SEMINARIO DOIMECO, "EL OFICIO DE DIRECTOR DE FOTOGRAFÍA DE CINE EN ESPAÑA (2001-2016): OPORTUNIDADES Y DESAFÍOS DEL CINE DIGITAL"

*CFP* "IDENTITY, PROJECTION, AND THE OTHER", INTERNATIONAL CONFERENCE ON FILM STUDIES, LONDON CENTRE FOR INTERDISCIPLINARY RESEARCH

Over the course of the 20th century and into the 21st, cinema, television, and related media have become increasingly central both to individual lives and to the lives of peoples, groups, and nations. Cinema has become a major form of cultural expression and films both reflect and influence the attitudes and behaviour of people, representing their tensions and anxieties, hopes and desires and incarnating social and cultural determinants of the era in which they were made. 

Cinema as a whole has historically offered a rich setting for understanding cultural interaction, however it functions within certain political and ideological limits. It offers fascinating source material for an examination of what, in the modern world, we understand as "otherness", the cinematic "Other" being constructed in terms of race, ethnicity, class, religion, gender or sexual orientation. 

This conference aims to consider film studies from a variety of critical, theoretical, and analytical approaches and to focus on how "self-other" relations are represented. 

*CFP* "QUEER POP IN POST-2000 CHINA", SPECIAL ISSUE FEMINIST MEDIA STUDIES JOURNAL

Since the 2000s, China’s media industrialization and cultural globalization have encouraged a burgeoning “queer pop”——that is, a soaring proliferation of non-normatively gendered and/or sexualized narratives and performances, cultural productions and inventions, artistic expressions and gestures, and social relations and kinship systems in China’s media, cultural, and creative industries and spaces. 

In the meantime, digital production and cyber distribution technologies, social networking sites (both online and offline), and cellular phone applications available to self-identified LGBTQ groups have become increasingly accessible and diversified. 

In the parallel off-screen public space, China has also witnessed several waves of LGBTQ and feminist sociopolitical movements, following the decriminalization and depathologization of homosexuality in 1997 and 2001 respectively. Some queer and feminist movements were significantly shaped by transnational queer and feminist currents, such as the most recent #MeToo anti-sexual harassment movement at China-based universities.

*CFP* "PARTICIPATION IN AUDITORY CULTURE", SPECIAL ISSUE OF THE SOUNDEFFECTS JOURNAL

The rising prominence of interactive media and technologies has brought about an increased scholarly interest in participatory phenomena. This issue of SoundEffects aims to put a sonic spin on participation studies and emphasize the dialogic and participatory aspects of auditory culture. Sound remaining a primary medium of human communication carries with it an urgency to be heard and answered, offering rich possibilities for participatory processes, whether technologically mediated or not, which nevertheless remain underexplored in contemporary sound studies.

Nowadays, the easy availability of open-source software for sound editing and synthesis, as well as online sharing services, drastically lowered the professional and financial barriers for sound production and distribution. With this special issue, we want to explore the new ways of participatory sound-making and exchange brought about by the prosumer/produser culture. At the same time, we also want to look back at the sonic practices and phenomena of the past, such as the call-in radio shows or mixtapes, with this new participatory optics.

*CFP* "FOOD AND COOKING ON EARLY EUROPEAN TELEVISION", EDITED COLLECTION

Food has been part of television from its beginnings. As technology that supported producing and broadcasting television pictures developed through the 1920s in both Europe and US, the first experimental TV service was established in Britain and then Germany in 1935 (Hickethier 2008). A year later, a Miss Dickson, also known as a singing cook, first cooked on British television (Geddes 2018), followed by the more recognised chef Boulestin. But it was only in the decades following World War II, when broadcasting technology was further improved and the European nations slowly started to come to grips with the new realities of postwar Europe that food and cooking became firmly established as one of the most regular programmes on European televisions, both East and West.

This interest in food programming and especially food cooking shows, was partially to do with a particular focus of the European public broadcasters on educational contents of its television schedule, although this was not the sole reason for popularity of food and cooking on television screens. The audiences were often fascinated with television as a new medium in itself, and shows involving cooking became a familiar genre through which they could receive information about new foodstuffs that became popular in Europe through the postwar decades and popular recipes, but also educate themselves about manners and appropriate use of new household products that European industries produced after the War. 

*CFP* "OTRAS INVESTIGACIONES", ADCOMUNICA, REVISTA CIENTÍFICA DE ESTRATEGIAS, TENDENCIAS E INNOVACIÓN EN COMUNICACIÓN

La revista adComunica acepta investigaciones académicas relacionadas, de manera genérica, con el campo de la comunicación para la sección Otras Investigaciones, que mantiene su llamada a comunicaciones abierta todo el año. Los autores recibirán una respuesta con la valoración positiva, negativa o con petición de modificaciones. Los artículos serán evaluados siguiendo un proceso de revisión por pares ciegos.

Los textos deben de seguir las normas de publicación reflejadas en esta revista.

adComunica es una revista científica, de carácter internacional, cuyo objetivo es el estudio y análisis del panorama actual de la comunicación, en un sentido amplio, principalmente desde la perspectiva de la dirección estratégica. De este modo, la revista adComunica nace con una vocación inequívoca por contribuir a un mejor conocimiento de la realidad del mundo de la comunicación actual, y por tratar de aportar ideas y propuestas de acciones que puedan servir para situaciones de conflicto y crisis que afectan, de forma sustancial, al universo de las empresas de comunicación, en cualquiera de sus contextos informativos, publicitarios y audiovisuales.

*CFP* "ASKING BIG QUESTIONS AGAIN", THE 7TH FORUM OF CRITICAL STUDIES

The 7th Forum of Critical Studies. Asking Big Questions Again

 23 - 24 November 2018

Nice, Côte d’Azur. France.

4* West-End Hotel

 

The 7th Euroacademia Global Forum of Critical Studies aims to bring into an open floor the reflexive and questioning interaction among academics, intellectuals, practitioners and activists profoundly concerned with evaluative understandings of the world we’re living in. The focus of the forum is to initiate an arena where no question is misplaced and irrelevant as long as we acknowledge that evaluation, critical thinking and contestation are accessible trajectories to better understand our past, present and alternative scenarios for the future.

*CFP* "REPRESENTING TRANS", SPECIAL ISSUE OF EUROPEAN JOURNAL OF ENGLISH STUDIES

The last couple of years have been shaped by a paradoxical simultaneity of unprecedented trans visibility in the arts and media and of ongoing transphobic violence, disproportionately affecting economically disadvantaged and communities of colour. How can we approach the (international) success of shows such as Transparent, Hit & Miss, Orange is the New Black, Sense8, The OA or the independent film Tangerine (2015), foreign-language Oscar-winner Una Mujer Fantástica (A Fantastic Woman, 2017) or Arekti Premer Golpo (Just Another Love Story, 2010), and others? How do these visual representations negotiate traditional gendered binaries of the ‘male gaze’ (Villarejo 2016) and the dynamics of trans feminine hypervisibility and trans masculine invisibility? How do these artefacts navigate “the trap of the visual” that offers trans visibility as the “primary path through which trans people might have access to livable lives” (Gossett, Stanley and Burton 2017)? Have we indeed reached a “transgender tipping point” in public and political discourse as the June 2014 heading of Time Magazine, featuring actress Laverne Cox as the first open trans woman on the cover, suggests? What kind of tensions does the mainstream marketability and recognition (e.g. of celebrities like Caitlyn Jenner or Chaz Bono) create?

How do trans visibility and new regulative attempts such as the House Bill 2 (HB2) that gave rise to a new form of ‘bathroom panic’, but also media-savvy counter strategies by trans activists on social media, shape public discourse and how will politics be affected by more trans people running for political office? How does the predominance of US-centred trans representations reflect “the complex global flows of shared subcultural knowledges” (Aizura 2006) and how do they circulate globally and get received, resisted, or repurposed locally? Are there specific national investments in a visibility of legible scripts of trans lives based on identitarian political representation and how does this relate to visual representations of other non-normative forms of embodiment that might not easily fit such narratives?

*CFP* "EXHIBITION DESIGN INFLUENCED BY CINEMA", ISSUE FIVE CMA JOURNAL

It's all in the movies:

The medium of cinema works through an unfolding process of perception. As a spectator of cinema, one is drawn into a dimensional world, where the experience of spectacle, narrative, and semiosis work together to percolate a film’s interest, context, and purpose. Cinema is affective, engaging, and critically contemplative. Through dynamic relations between the movement and colour of images, ambient, immersive, and musical sound, cultural and human perspective, cinema creates an altered experience of reality. This encourages individuals to reflect, through embodied and cognitive instances, on the fluctuating conditions of the world and human experience. 

Cinema, since its invention, has given visibility to endless objects, circumstances, and concepts including those that may have once remained unseen, unspoken, or unthought. Cinema shapes the human perception of time and space, therefore creating attitudes about history and the future. Consequently, it is a medium that allows for ideas to unfold in an engaging and ruminative way. 

*CFP* "LGBTQ COMICS READER: CRITICAL CHALLENGES, FUTURE DIRECTIONS", LGBTQ COMICS STUDIES READER

Critical scholarship of comics, cartoons, and graphic narratives has been a burgeoning field in research and debate for at least the last twenty-five years. Amid such scholarly richness, LGBTQ comics criticism and scholarly attention to LGBTQ comics and cartoons is at least keeping pace with a field within which it is still negotiating its position. Until recently, LGBTQ comics lurked at the edges of the mainstream or hid in plain sight, existing in a “parallel universe,” published almost exclusively in gay newspapers and magazines, and available mostly in LGBTQ bookstores, even as all kinds of male and female homosociality, body and physique art, identity narrative, and varieties of the “outsider” appeared in a mainstream that was itself overcoming kinds of denigration (as unserious and trivial, or lurid and dangerous, etc.) familiar to LGBTQ experience. A new generation of LGBTQ readers is creating and analyzing comics, amalgamating, building on, and surpassing those suggestive tendencies. Recent scholarly comics criticism anthologies include separate chapters on LGBTQ comics. The moment is right for LGBTQ comics criticism to have a scholarly anthology of its own.

*CFP* X ENCUENTRO DE INVESTIGADORAS E INVESTIGADORES DEL FRANQUISMO, UNIVERSITAT DE VALÈNCIA

La Universitat de València será la sede del X Encuentro de Investigadoras e Investigadores del Franquismo que tendrá lugar entre el 13 y el 15 de noviembre de 2019. En esta ocasión se conmemora el 80º aniversario del final de la Guerra Civil española. Como novedades de este encuentro -que inició su andadura en Barcelona en 1992 como iniciativa de la Red de Archivos Históricos de Comisiones Obreras y tuvo su anterior celebración en 2016 en Granada-, en esta edición se adoptará la organización por mesas o talleres temáticos, para abordar la diversidad de líneas de estudio, y se abrirá también su ámbito cronológico para incluir el final de la dictadura y el periodo de transición hasta la restauración de la democracia.

Estructura y temáticas

El encuentro, organizado por el Departament d’Història Moderna i Contemporània de la Universitat de València y Fundació d’Estudis i Iniciatives Sociolaborals, de Comisiones Obreras del País Valenciano, propone diez líneas temáticas a las que podrán adscribirse las comunicaciones inscritas. En función del número y contenido, se establecerá una relación definitiva de mesas-taller:

*CFP* "ESSAYISM", ELECTRONIC BOOK REVIEW

What is an essay? “A type of writing,” writes Brian Dillon, “so hard to define its very name means a trial, effort or attempt.” Little wonder, then, that its major theorists are among its most memorable practitioners. For Michel de Montaigne, the essay is not the writer’s teaching, but his study: the form thus binds writing to reading, thought to citation, invention to discovery. For Georg Lukacs, it straddles the realms of art and criticism: in the essay, as in the portrait, the distinction between known and knower, between reflection and creation, blurs. For Theodor Adorno, it is “the critical form par excellence”: precise but provisional, it is implicitly opposed to positivism; where the treatise would transcend, the essay ambulates, considering its object from multiple sides. For Joan Retallack, it is a wager on the merit of a mind thus in motion: “neither poetry nor philosophy but a mix of logics, dislogics, intuition, revulsion, wonder”…

On the other hand, the ambiguities that attend the essay’s definition have led some to doubt there is any such thing. It is instead, some aver, an attitude assumed within other genres (thus the essay invades the novel, the poem, the memoir, the play) and even other media (thus the essay as film, as website, as game). A millennial extension upon this view has been crucial to the ascent of the essay in recent years: the essay, insist some of its champions today, is what comes after genre—indeed, after literature. But if the essay is a post-literary genre, it is equally a pre-literary one. And not just in the sense that, in finding form, it often appears akin to the draft, the notebook, the journal, the jotting. If, with the rise of the essay, we reach the ragged right margin of literature, and of the modernity in whose pages it was written, we are prompted to ask what that era tried to leave behind or push aside. In the end, the essay returns us to the beginning.

*CFP* CALL FOR ARTICLES JSR, JOURNAL FOR THE STUDY OF RADICALISM

JSR: Journal for the Study of Radicalism—an academic journal published by Michigan State University Press—announces a call for articles and reviews for our twelfth year of issues.

Forthcoming thematic issues will include anarchism, including Black Bloc activism, ecological radicalism, animal rights radicalism, and right-wing forms of radicalism. We are particularly interested in articles on transnational subjects as well as on lesser-known examples of radicalism, as well as in articles that include theoretical and methodological considerations.

We are interested in articles on radicalism in a wide range of contexts and areas, and encourage articles from humanities and social science perspectives. The Journal for the Study of Radicalism engages in serious, scholarly exploration of the forms, representations, meanings, and historical influences of radical social movements. With sensitivity and openness to historical and cultural contexts of the term, we loosely define "radical," as distinguished from "reformers," to mean groups who seek revolutionary alternatives to hegemonic social and political institutions, and who use violent or non-violent means to resist authority and to bring about change. 

*CFP* "#TALKINGPOINTS - TWITTER AND CIVIC DEBATE", EDITED VOLUME

With its hashtags, trending topics, and 280-character messages, Twitter has become the place to watch ideas, movements, and communities develop and become part of a global consciousness. While some scholars and social commentators are excited at the increased visibility of groups and ideas commonly excluded from mainstream discourse, as well as the possibility of dialogue between groups, others have expressed concern about the presence of echo chambers and filter bubbles as well as the lack of “real” interaction. This raises the question what discussions on Twitter actually look like. Is there real engagement? What voices are heard and magnified, and which ones are backgrounded, or missing altogether? What kinds of conversations unfold on the platform, and do they contribute to or even qualify as civic debate?

This volume, edited by Gwen Bouvier and Judith E. Rosenbaum, seeks to shed light on the nature of the debates witnessed on Twitter through a consideration of a multitude of methodological and theoretical viewpoints. We are seeking contributions from a variety of backgrounds that consider the various types of conversations on Twitter, the users who engage in these conversations, and the impact these conversations have.