*CFP* CALL FOR ARTICLES, ISSUE 4, VIDEO GAME ART READER JOURNAL

In computing, overclocking refers to the common practice of increasing the clock rate of a computer to exceed that certified by the manufacturer. While the concept is seductive—buy the slower, lower-cost central processing unit (CPU), accelerate the clock speed, and presto! you have a cheap, high-end processor—overclocking may destroy your CPU, motherboard, and system memory, or irreparably corrupt your hard drive (voiding your warranty being the least of your problems).

This issue of the Video Game Art Reader (VGAR) proposes overclocking as a metaphor for how games are produced and experienced today, and the temporal compressions and expansions of the many historical lineages that have shaped game art and culture. In the same way that a computer user might overclock the processor of their machine to achieve results beyond its intended use, how can video game art studies overclock its received historical boundaries and intervene on current understandings of video game practices that are accelerating past their limits?

"CFP" "BEING ON THE BORDER. HISTORY AND THEORY OF CUT IN HUMANITIES AND SOCIAL SCIENCES", WINTER SCHOOL 2019

IMT School for Advanced Studies Lucca is pleased to organise

LYNX - Center for the interdisciplinary Analysis of Images - Winter School 2019

Being on the Border. History and Theory of Cut in Humanities and Social Sciences

(in partnership with AIRSC – Italian Association for History of Cinema Studies; ENCATC – European network on cultural management and policy; SIE –Italian Society for Aesthetics; SISF – Italian Society for Photography Studies)

In connection with the Conference

Ruskin 200, “Unto this Last”. Memories on John Ruskin

(in partnership with University of Florence, Alma Mater Studiorum | University of Bologna, University of Verona, and The Ruskin – Library, Museum and Research Centre, University of Lancaster)

Lucca (Italy) 26 - 29 November 2019

*CFP* INDIANA JONES AND THE EDITED COLLECTION OF CRITICAL ESSAYS, MCFARLAND

With his signature bullwhip and fedora, the familiar sounds of his orchestral anthem, and his eventful explorations into the arcana of world religions, Indiana Jones – archeologist, adventurer, and ophidiophobe – has become one of the most recognizable heroes of the silver screen.  Since his debut in 1981’s Raiders of the Lost Ark, Indiana Jones has appeared in three sequels, and Steven Spielberg has recently announced that he will soon begin production on a fifth Indiana Jones film.  Along the way, the character has spawned a raft of children’s novels, cartoon and live-action television series, and video and role-playing games.  

Despite the longevity and popularity of the Indiana Jones franchise, however, it has rarely been the focus of academic criticism, a fact which is surprising considering the critical attention enjoyed by other early George Lucas and Steven Spielberg films.  As stories about archeology, the Indiana Jones tales reflect an array of ethical questions and representational issues regarding the nature of the past.  As stories about an American man globe-trotting in the middle of the twentieth century, Indiana Jones’s adventures intersect with a wide range of cultural narratives about World War II, the late colonial era, and late-century nostalgia for perceived mid-century ideals.  As stories about the sacred, Indiana Jones’s quests engage questions about the nature of the sublime, the representation of the otherworldly, and the role of narrative in constructing reality.