*CFP* CALL FOR TV/FILM REVIEWS, NEXT ISSUE, GOTHIC NATURE JOURNAL

Gothic Nature is seeking TV/ film reviews for its next issue. The show or film reviewed must have a clear thematic link to ecohorror/ecoGothic and have first appeared in 2020-21 (see some possibilities below). 

Reviews should aim for about 1,000 words in length (Harvard style and British spelling and punctuation conventions appreciated). 

Send inquiries and submissions to Sara L. Crosby at crosby.sara@gmail.com. For further information about the journal, please visit the website.

Partial list of 2020/21 films and TV series that could potentially be reviewed from an ecohorror/ecoGothic standpoint:

*CFP* "CHINESE AESTHETICS: TRADITIONAL AND TRANSCULTURAL PERSPECTIVES", SPECIAL VOLUME, THE JOURNAL OF COMPARATIVE LITERATURE AND AESTHETICS (JCLA)

China has a long and rich tradition of artistic practices and aesthetic theory, but this tradition has, in contemporary times, been underutilized in international philosophical aesthetics and transcultural theory. This issue of JCLA aims to address this problem by inviting papers that explore Chinese aesthetics, the role it has played in international and transcultural aesthetics, and the most promising ways it could contribute to these fields: 

• Chinese Aesthetic Theory (Traditional and Contemporary); 
• The “traveling” of Chinese art and aesthetics in the history, such as Chinoiserie; 
• Chinese aesthetics as inspirations for other aesthetic cultures or theoretical invention; 
• Comparative studies of aesthetics or artistic genres (poetry, painting, music, drama, calligraphy, etc) between Chinese and other cultural traditions. 

*CFP* “MANY REGIMES OF CAPITAL IN THE POSTDIGITAL AGE”, TECHNO-HUMANITIES LAB 2020 CONFERENCE

Many Regimes of Capital in the Postdigital Age 

21-22 de Mayo de 2020

University of Warsaw, Polonia

Capitalism today is gaining new meaning and looking for a new name and new theorethical and practical approaches. In recent decades, philosophers and critical theorists have taken to reconceptualizing the many appearances of Capital: from cognitive, affective, and neoliberal capitalism to computational, necro-, anarcho-, and surveillance-capitalism. These are just several of the ways to name an era marked by the capitalization of nearly everything—work, attention, affect, and even life itself. Along with these attempts to characterize our epoch, new modes of resistance have also been imagined: from alternative modalities of negation and accelerationist pleas for Promeathan transformations of the logic of production to new forms of immanent resistance through situated counter-conduct.

*CFP* “CARTOON ANIMATION: SATIRE AND SUBVERSION”, SYMPOSIUM OF THE ANIMATION RESEARCH CENTRE

Cartoon Animation: Satire and Subversion 

17 de Febrero de 2020

Animation Research Centre, University for the Creative Arts, UK

Fifty years ago (in 1969) Oscar winning animator, Bob Godfrey, established the Animation course at UCA, which was the first Higher Education animation course in the UK and his archive is held at UCA. As well as his work in teaching, Godfrey served as mentor and employer to many budding animators and is revered as an iconic figure in British animation. Although popularly known for his children’s TV series, such as Roobarb and Custard/and/The Do-It-Yourself Animation Show, Godfrey also created a number of more experimental and adult works that drew upon traditions of British satire, DADA and Situationism.

To mark the Golden Jubilee of animation at UCA, celebrate the irreverent and anarchic humour of Bob Godfrey and re-launch the Animation Research Centre at UCA, we are running a symposium in our new Film building at Farnham, that will be accompanied by an exhibition of items from Godfrey’s archive.

*CFP* “DIGITAL VISIBILITIES OF THE RELIGIOUS”, ISSUE, THE RESERCHES EN COMMUNICATION SCIENTIFIC JOURNAL

The religious process uses any material form to communicate the presence of absent or transcendent entities and to enable a relationship to be established with them, and to organize the regime of action that results from this relationship. With the computerization of society and the development of exchanges by digital means, it also mobilizes signs of its own dynamics on the networks. The present issue therefore aims to investigate the forms of digital expression and visibility of the religious and the reasons for their digital expansion.

These forms of visibility can be carried out by devotees (Favret-Saada, 2017), activists or set up by religious institutions and movements of different types. We will look at the speeches, images, digital devices and ergonomics that develop the proposed religious service, as well as the economic and socio-political contexts that can motivate, explain or underpin these communications, always within the framework of a vision focused on information and communication. Finally, we will also look at the practices (Jonveaux, Duteil-Ogata, forthcoming) of production and mobilization of these devices, as well as their theorizations.

*CFP* “KIPLING IN THE NEWS: JOURNALISM, EMPIRE AND DECOLONISATION”, 2020 CONFERENCE

Kipling in the News. Journalism, Empire, and Decolonisation

17-18 April 2020

City, University of London

Keynote speakers will include

Professor Janet Montefiore (editor of the Kipling Journal), historian of media and empire.

Dr Chandrika Kaul (University of St Andrews).

Professor Harry Ricketts (University of Victoria, author of The Unforgiving Minute: A Life of Rudyard Kipling).

Professor Elleke Boehmer (University of Oxford), novelist and postcolonial critic.

This conference sets out to explore the importance of journalism to Kipling’s literary life and, in so doing, to ask larger questions about the relationship between journalism, empire, and decolonisation. It also invites meditations on the continued relevance of these questions in the ‘post-truth’ era of the twenty-first century and in the age when our current Prime Minister, then Foreign Secretary, sees fit to recite ‘Road to Mandalay’ in Myanmar.

*CFP* "EL CANON CINEMATOGRÁFICO", Nº 78, ARCHIVOS DE LA FILMOTECA

Muchas historias artísticas o estéticas necesitan de unas obras trascendentes, grandes referentes a partir de los cuales construir su discurso sobre el pasado. Mirando retrospectivamente, la suerte de tales obras canónicas depende del baile al que las haya sometido el tiempo y sus oleadas culturales, bien fijándolas desde su concepción en el Olimpo de lo clásico, lo seminal, lo modélico, etcétera, o bien haciéndolas oscilar entre el encumbramiento y la execración, entre el reconocimiento y el olvido, para terminar reverenciándolas. La selección de las obras consideradas canónicas nunca ha sido inocente, y es competencia del analista y del historiador del cine identificar los motivos que hay detrás de la canonización. Con todo, en un tiempo en el que lo políticamente correcto tiene un peso importante en la historiografía y, sobre todo, en la crítica cinematográfica, cabe preguntarse hasta qué punto la propia ética del canon –y no tanto la de la obra en sí– es la que, en un ejercicio de autoconciencia continua, está en tela de juicio cuando este es pensado. Entre las numerosas acepciones del término “canon” que recogen buena parte de los diccionarios, destacan “regla o precepto” –normas sustentadas en la costumbre que rigen una actividad– y “catálogo o lista” –de obras artísticas consideradas modélicas frente a otras que no lo son, de textos sagrados frente a los apócrifos–.

*CFP* CALL FOR FILM REVIEWS, THE QUINT JOURNAL

The quint is a peer-reviewed journal published by the University College of the North, P.O. Box 3000, The Pas, Manitoba, Canada. From its fortieth issue of the journal a new section is dedicated to film reviews and is edited by Dr. Antonio Sanna (co-editor of the Critical Companions to Popular Directors series for Lexington Books and (co-)editor of five volumes on English literature and cinema so far). 

We accept reviews of films of all periods and genres (provided they explain why a film should be “re-watched”, in the case of a non-recent production) and are also looking forward to receiving proposals for thematic groups of reviews on several films. Reviews could also focus on a specific aspect or theme of the film under examination, but they must engage with the critical debate on the subject and have an “impersonal”, academic style.

Reviews should range around 1000 words, with Times New Roman, justified, double-spaced text, including the list of cited works, and footnotes rather than endnotes. Longer and shorter submissions will also be considered. Bibliographic citation should be the standard disciplinary format. All contributions need to be accompanied by a short biography (50 to 80 words). 

*CFP* “FILM MATTERS”, OPEN CALL FOR UNDERGRADUATE PAPERS

Film Matters, published by Intellect, is seeking papers written by undergraduate film scholars for issue 11.3 (2020). Calls for papers are open to any undergraduate student currently enrolled at an institution of higher learning worldwide and working toward a Bachelor’s degree in any field. Recent graduates are also eligible, providing they submit to a call, the deadline for which occurs within six months from their graduation date (or up to a year, providing that the recent graduate is not enrolled in graduate school). Any original piece of written scholarship involving film criticism, history, or theory will be considered for publication. By submitting a paper for a call, authors are certifying that: (1) they are undergraduate students, currently enrolled at an institution of higher learning and working toward a Bachelor’s degree (or they are recent graduates of twelve months or fewer from the date of the call deadline, providing they are not enrolled in graduate school); (2) their submitted essays are original pieces of written scholarship, authored solely by them, and have not been published in any form, in any publication, heretofore; and (3) their submitted essays are not concurrently under review for publication in ANY other magazine or journal.

*CFP* CALL FOR PAPERS AND AUDIOVISUAL ESSAYS, MOVIE: A JOURNAL OF FILM CRITICISM

Movie: A Journal of Film Criticism is the successor to the seminal journal MOVIE (1962-2000). We are a peer-reviewed, open access scholarly journal dedicated to publishing rigorous but accessible work that is concerned with the aesthetics of film and television style, close textual analysis, and/or the theory and practice of evaluating works of film and television.

This year the journal is moving to a rolling publication model. Submissions will be accepted and published throughout the year. Each Issue number will be associated with the year of publication.

*CFP* "RE-EXAMINING TURN-OF-THE-CENTURY FILM CULTURE: TWENTY YEARS OF FILM STUDIES", SPECIAL ISSUE FILM STUDIES JOURNAL

She told herself that she had NT$ 500,000 in the bank. When she'd used it up, she would leave him for good. This happened ten years ago; in the year 2001. The world was greeting the twenty-first century and celebrating the new millennium.

(Millennium Mambo, 2001, Hou Hsiao-hsien)

Hou Hsiao-hsien’s Millennium Mambo is set at the turn of the century but its main character voice-over narration is situated in 2011; the events are seen retrospectively. Similarly, this issue of Film Studies is situated at the beginning of the third decade of the twenty-first century and looks back to turn-of-the-century cinema, film scholarship and criticism.

*CFP* "ELOQUENT VANDALS", SPECIAL ISSUE 2 NUART JOURNAL

Following the successful international launch of Nuart Journal, we are now calling for submissions for Issue II.

The theme of Issue II Eloquent Vandals is a provocative link to street art and urban culture’s delinquent roots and the “creative joy of destruction” – evidenced most recently in Banksy and Blu’s high profile acts of auto-iconoclasm, but also present in a plethora of quotidian, human scale, unsanctioned urban interventions. The rise of festival-sponsored neo-liberal muralism sits uneasily with these ungovernable forms of urban creativity. This special issue calls for contributions that celebrate the work of street art’s eloquent vandals, and papers that critically examine attempts to cultivate, instrumentalise, commodify and ‘protect’ the art of the streets.

We welcome submissions from a broad range of authors including cultural heritage workers, historians, critics, cultural and human geographers, political theorists, anthropologists, ethnographers, sociologists, psychologists, criminologists, curators, artists, writers, taggers, anarchists, and out and out vandals.

*CFP* CALL FOR SUBMISSIONS, SPECIAL ISSUE CULTURE, THEORY AND CRITIQUE JOURNAL, TAYLOR & FRANCIS

Culture, Theory and Critique invites original full-length article submissions for its upcoming open issues.

Culture, Theory and Critique is a refereed, interdisciplinary journal for the transformation and development of critical theories in the humanities and social sciences. It aims to critique and reconstruct theories by interfacing them with one another and by relocating them in new sites and conjunctures.

Culture, Theory and Critique is an international as well as interdisciplinary journal whose success depends on contributions from a variety of sources, so that debate between different perspectives can be stimulated. One of the aims of the journal is to break down theoretical hierarchies and latent intellectual hegemonies. To this end, every endeavour will be made to incorporate perspectives from diverse cultural, intellectual and geographical contexts. 

*CFP* "WATCHING TELEVISION SERIES, WRITING CRITICISM", ANIKI REVISTA PORTUGUESA DA IMAGEM EM MOVIMENTO

This thematic dossier focuses on the critical appreciation of particular television series, while also examining the distinctive practice of writing television criticism. Our understanding of television criticism echoes that of Alex Clayton and Andrew Klevan in their edited volume The Language and Style of Film Criticism (Routledge, 2011). It is a form of writing that addresses television series “as potential achievements and wishes to convey their distinctiveness and quality (or lack of it)” (Clayton and Klevan 1). The significance of criticism stems from the way it “deepens our interest in individual [series], reveals new meanings and perspectives, expands our sense of the medium, confronts our assumptions about value, and sharpens our capacity to discriminate” (Clayton and Klevan 1, emphasis in original).

The last ten years have seen a welcome and growing direction of scholarly interest towards the aesthetic dimensions of television fiction and the particular issues of judgement and value they raise—see, for example, Jason Jacobs and Steven Peacock’s volume Television Aesthetics and Style (Bloomsbury, 2013). Nevertheless, the practice of detailed stylistic criticism remains relatively rare in television studies; also underexplored are the unique challenges of writing detailed criticism in response to television series. Those challenges pertain to both the temporal expansiveness of series, and the need to articulate values in television fiction that may not have straightforward counterparts in traditions of film, literature, or fine art criticism. The dossier will add to the existing body of detailed writing on television series, while deepening our understanding of its distinctive challenges and values.

*CFP* "WATCHING TELEVISION SERIES, WRITING CRITICISM", REVISTA ANIKI

This thematic dossier focuses on the critical appreciation of particular television series, while also examining the distinctive practice of writing television criticism. Our understanding of television criticism echoes that of Alex Clayton and Andrew Klevan in their edited volume The Language and Style of Film Criticism (Routledge, 2011). It is a form of writing that addresses television series “as potential achievements and wishes to convey their distinctiveness and quality (or lack of it)” (Clayton and Klevan 1). The significance of criticism stems from the way it “deepens our interest in individual [series], reveals new meanings and perspectives, expands our sense of the medium, confronts our assumptions about value, and sharpens our capacity to discriminate” (Clayton and Klevan 1, emphasis in original).

The last ten years have seen a welcome and growing direction of scholarly interest towards the aesthetic dimensions of television fiction and the particular issues of judgement and value they raise—see, for example, Jason Jacobs and Steven Peacock’s volume Television Aesthetics and Style (Bloomsbury, 2013). Nevertheless, the practice of detailed stylistic criticism remains relatively rare in television studies; also underexplored are the unique challenges of writing detailed criticism in response to television series. Those challenges pertain to both the temporal expansiveness of series, and the need to articulate values in television fiction that may not have straightforward counterparts in traditions of film, literature, or fine art criticism. The dossier will add to the existing body of detailed writing on television series, while deepening our understanding of its distinctive challenges and values.