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Queer fandom nowadays has become a global phenomenon. It helps exemplify the complexities, anxieties, conflicts, and negotiations within and surrounding the collision of global, national, and regional cultures. Some of its subdivided fields, such as Western slash and Japanese Boys’ Love (BL), have received significant academic attention since 1980s (e.g., Aoyama, 1988; Bacon-Smith 1992; Buckley 1991; Fujimoto 1991; Jenkins 1992; Kinsella 1998; Matsui 1993; Penley 1992; Russ 1985). Especially in recent years, the distributions and interpretations of BL across language and geographical boundaries, the distinctiveness and similarities between BL and slash genres, the pornographic aspect of BL, slash, and other forms of queer fannish productions have been emphasized in a body of scholarly literature worldwide (e.g., Brienza 2009; Chao 2013; Galbraith 2011; Glasspool 2013; Isaksson 2009; Keft-Kennedy 2008; Levi 2009; Levi & McHarry & Pagliassotti 2010; Martin 2012; McLelland 2000; Meyer 2013; Mizoguchi 2008; Nagaike 2003; Nagaike 2009; Pagliassotti 2009; Penley 1991; Perper & Cornog 2002; Sabucco 2003; Shamoon 2012; Silvio 2011; Welker 2006; Wood 2006; Wood 2013; Zanghellini 2009).

Meanwhile, the blooming of Chinese queer fandoms in the past two decades has also offered rich sites of queer representations of gender and sexuality. Greatly shaped by Chinese traditional romantic literature, Japanese BL, and Western slash cultures (Feng 2009; Xu & Yang 2013; Yang & Bao 2012; Zheng 2009), contemporary Chinese queer fan cultures have been enjoying a growing diversity. The objects Chinese fans queerly fantasize about are by no means limited to local Chinese celebrities, nor to self-identified queer celebrities. The proliferation of cross-regional, cross-cultural, and transnational Chinese queer fandoms dedicated to androgynous celebrities, queer media, and popular culture is also hard to ignore. Yet, research explicating the intricacies of gender identities, sexual desires, regional differences, national belongings, and global queer cultural convergence and hybridization within Chinese queer fandoms is still far from adequate.

To fill this research gap, this edited collection stresses the struggles, potentials, and dynamics of queerness unveiled within a variety of the fannish contexts of Greater China. Bearing on the intersecting of global cultures studies, post-colonial studies, modern queer theory, and media audience research, we view queerness as a nonstraight spectatorial position (Doty 1993; Kohnen 2008) and/or a productive space (Munoz 1999). Accordingly, we aim to examine Chinese queer fandom as a grassroots cultural palimpsest that reconfigure, contest against, trespass, and/or overturn the dominant scripts of identity and subjectivity.

We seek chapter contributions that elaborate the cultural specificities, significances, transformativity, hybridity, historicity, and futurity epitomized by Chinese queer fan cultures. We are especially keen to receive manuscripts that consider the queer dimensions of gender, sexuality, desire, and fantasy from a wide range of Chinese temporal and geographical settings. We also very welcome submissions that employ interdisciplinary and/or comparative approaches.

Manuscript topics may include but are not limited to:
Ø Genders and Sexualities in Chinese Boys’ Love/Slash and Girls’ Love/Femslash Fandoms
Ø Queerness and Performativity in Fandoms Dedicated to Anime and Cosplay/Role-Play/Life-Play in Greater China
Ø Chinese Queer Readings of Media, Popular Culture, and Celebrities Worldwide
Ø Chinese Queer Fans’ Gender- and Sexuality-Related Identities, Agencies, Subjectivities, Fantasies, Desires, Connections, and Relationships within Fan Communities
Ø Racial Representation, Distant Cultural Construction, and Non-Chinese Imagination in Chinese Queer Fan Cultures
Ø The Interrelationship and Interaction between Chinese Queer Fandoms, Queer Organizations, Queer Movements, Queer Politics, and Queer Grassroots Publics and Communities
Ø Queer, Pornographic Representations of Male/Female Sexualities in Chinese Queer Fandoms
Ø The Transgressiveness, Multivalence, and Constructedness of Masculinities and Femininities in Chinese Fan-Made Queer Productions
Ø Violence, Abuse, and Aggressiveness in Chinese Fan-Made Queer Productions
Ø The Interplay of the Boom of Boys’ Love/Slash and/or Girls’ Love/Femslash Industries, Fans’ Passions for Queering and Queerness, and the Commercialization of and Censorship on Queer Media in Greater China

Note:
We are only interested in academic analytic papers grounded in certain critical/theoretical perspectives that have NOT been published elsewhere.
To submit chapter proposal submissions for consideration, please send a 1000- to 1500-word abstract (outlining the topic, methods, and fan-related materials used) with working bibliography and a CV to the book editors at queerfandom2014@yahoo.com by May 30th, 2014.

Acceptance will be handled on a rolling basis till the end of July, 2014. Early submissions are strongly encouraged.

Completed, well-polished papers from accepted contributors should run between 5,000 to 8,500 words and are expected before the end of December, 2014.

Transnational Queer Activism

Janice Irvine and Jill Irvine, eds.

This call for papers seeks contributions to an edited volume on transnational queer and LGBT politics, movements, and activism. This volume will feature work that bridges theoretical and empirical methodologies, and that is located within both disciplinary and interdisciplinary frames. Drawing upon current research on a broad range of cases, it aims to provide a comparative analysis of queer politics both within countries and across regions.  We are particularly interested in the notion of queer as it has traveled around the globe and the opportunities and/or obstacles it presents for various types of activism, movement building, strategic action, and identities. In addition, we are interested in articles that address the following
questions:

1.) What political strategies have queer and LGBT movements pursued?
How have these strategies been shaped by factors such as nation, religion, gender, and other axes of difference?

2.) How do LGBTQ activists frame issues? How do global discourses,
norms, and languages shape local issues and how, in turn, do local
issues and frames shape global discourses?   Do queer politics versus
LGBT politics create alternative or mutually reinforcing sets of issues
and political demands?

3.) What alliances do LGBTQ movements and activists build locally,
regionally and  internationally?  What factors have caused rifts or
fissures in queer or LGBT movements? To what extent does queer activism
intersect with other forms of activism/resistance?

4.) How have activists disrupted or been shaped by geographical and
other binaries, such as east/west, north/south.  Are there different
variants of queerness as it is understood and applied in transnational
contexts?

Paper proposals of no more than 250 words should be submitted to Jill
Irvine at Jill.Irvine@ou.eduand Janice Irvine at irvine@soc.umass.edu by
April 1, 2014.  Proposals will be reviewed quickly and authors will be
notified by May 15, 2014.   Draft papers, approximately 8,000 words in
length, will be due January 15, 2015.

CFP: Panel on Sex and sexuality in Science/Speculative and Fantasy Fiction

For a panel on the academic track at Loncon3 – the 72nd World Science Fiction Convention:http://academicloncon3.wordpress.com/

Science/Speculative and Fantasy fiction are genres in which many things (arguably anything) is possible. This ought to include exploring alternatives to normative and heteronormative representations of sex and sexuality. On this panel our aim will be to consider how, why and to what extent these non-realist genres push the boundaries of representation relating to sex and sexuality. Proposals are invited for academic papers on topics including, but not limited to:

Queer SF&F
LGBTQI representation in SF&F
LGBTQI authors of SF&F
Queer, trans*, non-binary and genderfluid characters in SF&F Relationships between SF&F and queer theory and politics Authorial responsibility regarding representation Potentials and possibilities for non-heteronormative representation

In particular, papers are sought on the work of the guests of honour for Loncon3 – Iain M. Banks, John Clute, Malcolm Edwards, Chris Foss, Jeanne Gomoll, Robin Hobb and Bryan Talbot.

Please send a 300 word abstract and brief biography toj.roberts@bbk.ac.uk  by December 1st 2013.

B-Film: The Birmingham Centre for Film Studies & The Faculty of Art, Design and Media at Brighton University present:

Cine Excess VIIEuropean Erotic Cinema: Identity, Desire and Disgust

Midlands Art Centre, Birmingham

15-17 November 2013

Over the last 6 years, the Cine-Excess International Film Conference and
Festival has brought together leading scholars and critics with global
cult filmmakers. Cine-Excess comprises of a 3 day conference alongside
plenary talks, filmmaker interviews and 5-7 UK theatrical premieres of
up and coming cult releases. The event also features its own dedicated
DVD label, with recent releases including the official UK Blu-ray
release of Dario Argento’s Suspiria (1977). More recently, Cine-Excess
staff assisted with the new director’s cut of Ruggero Deodato’s Cannibal
Holocaust (1979), in conjunction with UK distributor Shameless Films.

Previous guests of honour to the annual Cine-Excess event have included
John Landis (An American Werewolf in London, The Blues Brothers, Trading
Places), Roger Corman (The Masque of the Red Death, The Little Shop of
Horrors, The Intruder, The Wild Angels, Bloody Mama), Stuart Gordon
(Re-Animator, King of the Ants, Stuck), Brian Yuzna (Society, Beyond
Re-Animator, The Dentist), Dario Argento (Deep Red, Suspiria, Inferno)
Joe Dante (The Howling, Gremlins, The Hole), Franco Nero (Django, Keoma,
Die Hard II), Vanessa Redgrave (Blow Up, The Devils, Julia), Ruggero
Deodato (Last Cannibal World, Cannibal Holocaust, House on the Edge of
the Park) Enzo G. Castellari (Keoma, The Inglorious Bast***s) and Sergio
Martino (Torso, All the Colours of the Dark).

With the recent relocation of Cine-Excess to the University of Brighton,
a number of new developments connected to the event have been announced.
These include the 2013 launch of the peer-reviewed Cine-Excess
E-Journal, which will publish a selection of papers from the event on a
twice yearly basis, while a new Cine-Excess feature film arm is also in
development in conjunction with a range of international partners.

For this year’s event Cine-Excess is proud to be working with the
University of Birmingham’s newly formed B-Film: The Birmingham Centre
for Film Studies as part of the Cine-Excess VII event.

Cine-Excess VII considers Europe’s long and controversial relationship
with the erotic image, considering the extent to which cult European
traditions of desire reveal fascinating issues of nation and regional
distinction.

From mainstream cinema’s first nude scene in Ekstase (1933) and the
extreme arthouse imagery of Romance (1999) via the exploitation films of
Joe D’Amato and Jess Franco, Europe has always been at the cutting edge
of cinematic depictions of the erotic, pushing the boundaries of what it
is legitimate to represent on screen. Employing varied genres and
filmmaking modes – from the pseudo-educational sex films of Scandinavia
and Germany to the surrealist exploits of Walerian Borowczyk or the arty
bourgeois respectability of Emmanuelle (1974) – European cinema has
shifted the paradigms through which the (eroticised) body can be
represented and consumed, blurring and problematizing the boundaries
between ‘art’ and ‘exploitation’. Often these celluloid sexual
experimentations also traverse accepted boundaries of desire and
disgust, with unsettling and controversial results. In so doing, these
films prompt a profound re-mapping of the body, as well as of the
concepts of art, commerce and even the very notion of ‘European’.

This conference will explore the history of European erotic cinema from
a range of theoretical and methodological perspectives, while also
considering a range of national traditions of carnality across a wide
range of visual media that include film, television, literature, comics
and digital media.

Several well-known filmmakers of European erotic cinema will also be in
attendance to discuss their work and interact with academic speakers.
Proposals are now invited for papers on any aspect of European cinema.
However, we would particularly welcome contributions focusing on:
* The National and the Naughty: eroticism and European identity;
* Carnal and Cruel: Euro erotica and the horrific
* New Territories, Old Taboos: Extreme desires in the new Europe;
* Erotic Auteurs: Case-studies of the carnal cineaste;
* Sin, Surgery and Sutures: The medicalization of European erotica;
* Trans-generic desires: eroticism as celluloid hybrid;
* Art or Arousal:  Problematic distinctions between pornography and
the European erotic;
* Deviant Distinctions: The erotic in ‘art’ and ‘exploitation’ cinema;
* Carnal Cravings: Questions of consumption and reception;
* Against God and State: Censorship and the erotic image;
* >From Desire to Disgust: Conflicted carnalities, confused cycles;
* The Politics of the Erotic: Historical case-studies of arousal;
* Basic Instincts: the cinema of Paul Verhoeven, Catherine Breillat
and Just Jaeckin;
* 50 States of Grey: European traditions of titillation abroad;
* The Devil Within Her: Erotic Desires and the female body;
* >From Page to Porn: Adaptations of the literary erotic;
* Institutions of Excess: Case-studies of European distribution;
* Queer Europe: From the experimental frame to the exploitation image;
* Small Screen Thrills: TV and erotic traditions;
* Iconic Excess: Case-studies of erotic performance;
* Brown Skins, White Marks: The transnational/transitional erotic
body in film;
* Sex and the Unsafe Space: Domestic fears and the erotics of home
invasion

We welcome individual paper submissions, panels and roundtable proposals
related to a range of European regions and traditions. Please send a
300-word abstract and a short (one page) C.V. by the 17th September 2013 to:

Alex Marlow-Mann (a.p.marlowmann@bham.ac.uk) or Xavier Mendik
(x.mendik@brighton.ac.uk)

A selection of conference papers from the event are scheduled to be
published in the Cine-Excess E-Journal and as a separate anthology.

For further information and regular updates on the event (including
information on guests, keynotes and screenings) please visit
www.cine-excess.co.uk

CALL FOR PAPERS
 
International Conference “Gender in focus: (new) trends in media”
June 20-21, 2014
University of Minho (Braga, Portugal)
The Communication and Society Research Centre invites you to submit a proposal for a paper, panel or poster presentation to the upcoming International Conference “Gender in focus: (new) trends in media”.
Over the last decades, a considerable amount of research has been conducted on the relationship of gender with communication. However, new insights are still needed, especially those that explore the interrelations and negotiations between media and gender through the use of interdisciplinary and intersectional approaches.
This event aims to serve as a forum to discuss ideas, experiences and research results on gender and media, bringing together social sciences researchers, NGOs representatives and media professionals.
Topics of interest for submission include, but are not limited to, the following:
• Femininities and/or Masculinities Representations in Media
• Gender and Media Trends
• Gender, Media and Public Sphere
• Gender, Advertising and Consumer Culture
• Gender, Audience and Reception Studies
• Gender, Digital Culture and Communication
• Gender, Media Institutions and Communication Policies
• Media and Feminist Theory
• Media Social Networks and Identities
• Media, Gender and Democracy
• Media, Gender and Human rights
• Media, Gender and Intercultural Communication
• Media, Gender and Sexualities
• New Media and Feminist Movements
• Intersectionality and Media
Please submit an abstract for oral paper or poster up to 300 words and a brief authors biography of about 150 words. Panel proposals should consist of a rationale of the panel (300 words), abstracts for individual presenters (150 words each), name of panel chair(s) and a brief authors biography of about 150 words.
Proposals should be submitted through the EasyChair system (https://www.easychair.org/conferences/?conf=gf2014), mentioning name, academic affiliation and contacts. The deadline is February 15, 2014 and the notification of paper, panel or poster acceptance will be no later than March 15, 2014.
The official language of the conference is English.
For more information, please contact us:
Communication and Society Research Centre
Social Sciences Institute
University of Minho
Gualtar Campus
4710-057 Braga – Portugal
Assuming Gender Special Issue – “Queer and There”

Assuming Gender would like to invite submissions to our forthcoming special issue: ‘Queer and There’. In this issue we aim to explore contemporary queer theory and its practical and theoretical horizons. We welcome submissions which engage with ‘queer texts’, but also those which apply perspectives gained from queer theory to perhaps unexpected texts, objects or fields. We would also welcome more theoretically-focused articles, including those which posit challenges to aspects of the field.

In respect to the title, ‘Queer and There’, we particularly welcome submissions that take queer approaches to, or locate the queer in new and unexpected places.

Suggested topics include, but are not limited to:

  • Bodies
  • Ecologies
  • Futures
  • Heteronormativity
  • Intersections
  • Kinship
  • Nature/the Natural
  • Normativities
  • Paraphilia/Fetish
  • Perversion
  • Science/Technology
  • Sexual Identities/Orientations
  • Sexual Practices
  • Sociality
  • Space/Spatiality
  • Time/Temporality
  • The ‘End’ of Queer Theory

Proposals are welcome from any academic discipline, and can cover any historical period. We particularly welcome inter- and multi-disciplinary approaches.

We welcome contributions from academics and graduate students. Submissions should follow the Assuming Gender submission guidelines. Deadline: Monday, 2 September 2013.

Submissions and enquiries should be sent to issue co-editors David Andrew Griffiths and Kat Deerfield at gender@cardiff.ac.uk.

Call for papers
Queer, feminist digital media praxis
Ada: A Journal of Gender, New Media, and Technology | adanewmedia.org Issue 3, May 2014

Editors: Aristea Fotopoulou (University of Sussex), Alex Juhasz (Pitzer College), Kate O’Riordan (University of Sussex/ University of California, Santa Cruz)

We invite contributions to a peer-reviewed special issue that brings together artistic, theoretical, critical and empirical responses to a range of questions around mediation, technology and gender equality. In particular we are interested in exploring what the concept of praxis could offer in our thinking about the intersections of gender, digital media, and technology.

Praxis in both Marxist and in Arendtian political thought brings together theory, philosophy and political action into the realm of the everyday. Inspired from this premise, and continuing the conversations that started during the workshop Queer, feminist social media praxis at the University of Sussex in May 2013 (queerfemdigiact.wordpress.com), we focus here on the conditions for a feminist digital media praxis. Media praxis, in other words the “making and theorising of media towards stated projects of world and self-changing” (mediapraxis.org), could be a vital component of feminist and/or queer political action. We are interested in the different modes of political action for social justice, enabled by digital technologies and social media, including theory, art, activism or pedagogy. What kinds of possibilities or impossibilities do these technologies and platforms offer for interpreting and intervening in the world?

The fourth issue of Ada: A Journal of Gender, New Media and Technology seeks submissions that explore the concept of feminist, queer, digital media praxis. We welcome unpublished work from scholars of any discipline and background, including collaborative, non-traditional, or multimodal approaches that can especially benefit from the journal’s open access online status.
Topics and approaches might include, but are not limited to:

Affect, desire and disgust
Diffractive readings
Digital storytelling
Herstories, archiving and remembering
Feminist pedagogy
LGBTQ Youth
New media bodies
Imaginaries, futures and technological utopias Radical art practices Science, technology and social justice

We invite submissions for individual papers on any of the above themes or related themes. Contributions in formats other than the traditional essay are encouraged; please contact the editor to discuss specifications and/or multimodal contributions.

All submissions should be sent by 15th August, to a.fotopoulou@sussex.ac.uk. They should be accompanied by the following information in the email message with your submission attachment:

Name(s), affiliation(s), email address(es) of the person(s) submitting.
Title of the text
Abstract of 400-600 words

Please note that Ada uses a two-level review process that is open to members of the Fembot Collective. For more information about our review policy, see these guidelines:
http://adanewmedia.org/beta-reader-and-review-policy/.

Important dates:

– Deadline for abstracts: 15th August 2013
– Notification of accepted papers: 1st September 2013
– Deadline for full essays: 5th December 2013
– Expected publication date: May 2014

About Ada:

Ada is an online, open access, open source, peer-reviewed journal run on a nonprofit basis by feminist media scholars from Canada, the UK, and the US. The journal’s first issue was published online in November 2012 and has so far received more than 75,000 page views. Ada operates a review process that combines the feminist mentorship of fan communities with the rigor of peer review. Read more at http://adanewmedia.org/beta-reader-and-review-policy/. We do not – and will never – charge fees for publishing your materials, and we will share those materials using a Creative Commons License.

Information about the editors:

Aristea Fotopoulou is postdoctoral Research Fellow at the University of Sussex, working at the intersections of media & cultural studies with science & technologies studies. She is interested in critical aspects of digital culture, emerging technologies and social change, and in feminist/queer theory. She has written about digital networks and feminism, and recently, on information politics and knowledge production, and on social imaginaries of digital engagement. She currently explores practices of sharing in relation to biosensors and other smart technologies, and also works with Kate to produce SusNet, a co-created platform of feminist cultural production, art and activism.

Alexandra Juhasz is Professor of Media Studies, Pitzer College. She has written multiple articles on feminist, fake, and AIDS documentary. Her current work is on and about YouTube, and other more radical uses of digital media. She has produced the feature films, The Owls, and The Watermelon Woman, as well as nearly fifteen educational documentaries on feminist issues like teenage sexuality, AIDS, and sex education. Her first book, AIDS TV: Identity, Community and Alternative Video (Duke University Press, 1996) is about the contributions of low-end video production to political organizing and individual and community growth.

Kate O’Riordan is Reader in Digital Media and Associate Professor of Art at the University of Sussex and the University of California Santa Cruz respectively. She is the author and editor of three books, most recently The Genome Incorporated: Constructing Biodigital Identity. Her interests and expertise range from gender, sexuality and digital culture to human cloning, genomics and other biodigital symptoms. She is currently engaged in work at the intersections of art, science and media about in-vitro meat, biosensors and smart grids and questions about sustaining knowledge in feminist art and activism.

http://fembotcollective.org/blog/2013/07/09/cfp-ada-issue-4-queer-feminist-digital-media-praxis/