*CFP* "LA IGUALDAD DE GÉNERO: UNA LUCHA CONSTANTE", NÚMERO 22, COMMUNICATION PAPERS: SCIENTIFIC RESEARCH JOURNAL

“La Estrategia Europea para la Igualdad de Género presenta actuaciones y objetivos políticos para avanzar de forma sustancial hacia una Europa con mayor igualdad de género de aquí a 2025. La meta es una Unión en la que las mujeres, los hombres, los niños y las niñas, en toda su diversidad, dispongan de libertad para seguir el camino que elijan en la vida, gocen de las mismas oportunidades para prosperar y puedan conformar y dirigir por igual la sociedad europea en la que vivimos”. Esta declaración es el punto de partida del Call for papers de este Número 22 que esperemos no acabe en un brindis al sol.

Aunque la presencia cada vez mayor de las mujeres en el mercado de trabajo y sus logros educativos y de formación son tendencias alentadoras, persisten las desigualdades entre hombres y mujeres, manifiestas en la brecha salarial, en la infrarrepresentación en los puestos de responsabilidad, en los estereotipos presentes en los relatos mediàticos y, en general, en todos esos sesgos que las discriminan y las invisibilizan.

El peso de la sociedad patriarcal ha conllevado una visión androcéntrica, normalizada durante muchos años, que penetra en las rutinas de trabajo y se transmite a través de la comunicación. La incorporación de la perspectiva de género en la comunicación, y la normalización y el equilibrio de la representación que, desde los medios de comunicación, se hace de mujeres y Hombres, son elementos básicos para poder llegar a una sociedad igualitaria y libre de violencias machistas.

*CFP* "POST-CONFLICT CULTURES IN ASIA", MAJOR VOLUME, THE STUDIES IN POST-CONFLICT CULTURES SERIES

Critical, Cultural and Communications Press (London) announces the publication in early 2023 of a major volume focusing on post-conflict cultures in Asia.

The Studies in Post-Conflict Cultures series, which was inaugurated in 2006, has to this date published ten anthologies and three monographs exploring the cultural consequences of conflict across the globe. This is an ongoing series, originating in an Anglo-Italian Leverhulme-funded project, examining the specifically cultural aftermath of periods of national or international conflict, understood as war, civil war, dictatorship, terrorism, revolution, colonialism or persecution. 

No chronological or disciplinary boundaries are applied. Studies may be historical or contemporary, and may fall within any subject field. The ten volumes so far published have brought together international experts from disciplines as diverse as Political Science, History, Law, Media Studies, Cultural Studies, Critical Theory, Semiotics, Geography, Film Studies, Anthropology and Literature Studies. CCC Press intends to publish a major volume of papers on post-conflict cultures in Asia in the first half of 2023. 

*CFP* "HUMANISM AND THE FICTIONAL REPRESENTARIONS OF MONARCHS IN LITERATURE, ARTS AND MEDIA", BOOK CHAPTER

When Gilgamesh rejected the advances of Ishtar and refused to do what his father did, he renounced the status of the chosen lover and champion of the Goddess and (unwittingly) decided to be human. The death of Enkido made him realize that he is no longer favored by the Gods. His failed attempt to reach immortality can be read as an attempt to regain the former status he renounced. The epic of Gilgamesh, like other epics, anounces the severing of the connection between the divine and the human in the political realm. After Gilgamesh, the biographies of Mesopotamian rulers started to seem more human despite the formulaic presence of the divine. In ancient Egypt and ancient Greece, Monarchs were either gods or descendents of gods. In the Medieval age, he devine right of kings replaced the old myths about the divine lineage of monarchs. Machiavelli's realpolitiks and the advent of Renaissance humanism put the concept of divine right in question. The human rather than the divine started to define the monarchs in the West. In the East, however, while Europe was restricting its monarchs, the Meiji restoration puts the emperor at the center of the political system in Japan. The Victorian and Edwardian ages are the last literary periods to be named after monarchs. They both witnessed the rise of Gothic literature. The figure of Dracula strikes the reader as a monarchic figure. But this monarch is a posthuman figure cursed with immortality and a hunger for human blood. In recent years, the gothic and horror genres have gained remarkable popularity in cinema and popular culture. The figures of the Mummy and the vampire are usually depicted as monarchic figures that seek revenge for past wrongs. Revenge is closely related to the theme of royalty. In classical and Renaissance, modern and contemporary revenge narratives where loyalty to a deceased patriarch gives legitimacy to the actions of their heirs. Indeed, revenge narratives in Shakespeare and beyond are generally based on father-son emotional dynamics. These emotional dynamics are described as monarchic by Martha C Nussbaum in her book Political Emotions: Why Love Matters for Justice. In Victorian and contemporary horror fiction, the father-son dynamics are more complex as the royal father is the past self of the revenant. 

*CFP* "FANTASY ACROSS MEDIA", GIFCON 2022

The Centre for Fantasy and the Fantastic is pleased to announce a call for papers for Glasgow International Fantasy Conversations (GIFCon) 2022 with the theme of 'Fantasy Across Media'.

Much of fantasy studies has focused on the genre’s presence in literature, with histories and theoretical frameworks often either implicitly or explicitly centring the written word. In some cases, academic, critic, and fan responses to the genre outside of literature even go so far as to erase or question the possibility of the genre’s existence in other media, perhaps most famously embodied in J.R.R. Tolkien’s insistence in ‘On Fairy-stories' that some media, such as drama, are fundamentally incompatible with fantasy. These types of responses fail to account for the medium-specific benefits and challenges that different media pose for depictions of the impossible, serving to establish hierarchies between media, exclude non-literary media from analyses of the genre, and potentially limit a full understanding of the genre’s history.

Fantasy and the fantastic have had long, rich histories outside of literature, playing a central role in the development of theatre, film, and comic books, and celebrating a more recent boom on the small screen. Furthermore, from the innumerable reimaginings of the Arthurian tradition, to The Wizard of Oz, to manga and anime, to contemporary multimedia franchises and cinematic universes, fantasy texts have been integral to the history of transmedia storytelling, allowing their rich storyworlds to expand across multiple media. 

*CFP* LLAMADA A ARTÍCULOS, VOL. 1 Nº 2 (2022), REVISTA SERIARTE

SERIARTE es una revista, con revisión por pares, creada con la intención de proporcionar un espacio a la investigación, el debate teórico, metodológico y crítico sobre las series televisivas y el arte de los nuevos medios audiovisuales.

La profunda transformación experimentada por el entorno, la difusión y el consumo de la imagen en movimiento, además de la rápida expansión bajo el impacto de la tecnología digital, ha llevado a los académicos en el campo de los estudios del audiovisual a elaborar nuevos paradigmas teóricos y enfoques metodológicos para dar cuenta de las complejidades de un panorama cambiante de convergencia e hibridación, unos paradigmas que, además, se traducen en el avance y la transferencia de unos conocimientos que encuentran su reflejo en la sociedad actual. Teniendo en cuenta este escenario en evolución, SERIARTE facilita un espacio internacional para el estudio de las series televisivas y los nuevos medios de comunicación como el cine, los videojuegos, los videoclips o las plataformas digitales, entre otros. Todo ello atendiendo al compromiso crítico, la discusión científica de naturaleza teórica y el análisis de las obras. Para ello dispone de las siguientes secciones: Artículos (Monográfico y Miscelánea), Tribuna, Reseñas y Crítica.

Convocatoria del Vol. 1 No. 2 (2022)

*CFP* "FROM CINEMA CULTURE TO CINEMA MEMORY", THREE-DAY CONFERENCE

‘From Cinema Culture to Cinema Memory’

6 - 9 April, 2022

Lancaster University, UK

 

‘From Cinema Culture to Cinema Memory’ is a three-day conference that invites speakers to discuss a range of themes relating to cinema culture and cinema memory. The conference will mark the climax of a 3-year AHRC-funded project, ‘Cinema Memory and the Digital Archive: 1930s Britain and Beyond’ (CMDA). The project gathers together a range of material relating to cinema memory in a comprehensive digital archive, a vast amount of which has been made available to view freely online for the first time. Information on this project can be found here. The relationship between cinema culture and cinema memory is explored in ‘From Cinema Culture to Cinema Memory: a Conceptual and Methodological trajectory’ (Kuhn, upcoming)

Key themes to explored at the conference are:

*CFP* "SUPERHEROES: A COMPANION", BOOK CHAPTER

As media texts show us superheroes from around the world(s), demonstrating extraordinary abilities and living a life shaped by a moral code, how we define their iconic features and cultural impact has been the focus of much scholarly debate.

Superheroes have proliferated and multiplied in the 21st Century, coming to prominence in film, television, and video game industries the same way that their popular narratives had begun to flourish in the comic book industry some eighty years before. Yet, while all of these stories and characters are tethered to these early years of the genre, through iterative retellings, reboots, and cultural readjustments, superheroes have consistently found renewed life in modern and contemporary re-imaginings.

Seen through examples, such as the synergy of “Batmania”, the convergence culture of the MCU, the conglomerate hierarchies that facilitate the Arkham games, or the multi-verse publications that enable spaces for a female Thor or an Afro-Latino Spider-man, superheroes continue to evolve through the conditions of their production and the cultural discourses that they engender.