SCMS Conference 2020 Panel/Workshop Bulletin Board
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Jean Seberg, Celebrity Activism, and Breathless at 60 Locked Topic 0 R. Ness CFP:  Jean Seberg, Celebrity Activisim, and Breathless at 60 With this year marking the 60th anniversary of the release of Jean-Luc Godard’s groundbreaking film A bout de soufflé (Breathless), it is an appropriate time to reevaluate the importance and influence of its iconic star Jean Seberg, whose brief life in many ways paralleled the tumultuous changes during a period of major social, political, and artistic upheaval. The beginning of Seberg’s career seemed to be the embodiment of the American dream, as she was selected, soon after graduating from high school, from thousands of applicants to star in Otto Preminger’s Saint Joan. But after suffering negative reviews and the belligerent behavior of her tyrannical director Seberg relocated to Europe where she reinvented herself as a star in films by Godard and other French New Wave directors. In the late 1960s, as part of her lifelong commitment to political activism, Seberg lent her support to a project by the Black Panthers to provide breakfasts to homeless children. As a result, the FBI launched a smear campaign against Seberg that included planting a false news item claiming that she was pregnant by a member of the Black Panthers. Despite appearances in two high profile Hollywood productions, Paint Your Wagon (1969) and Airport (1970), the negative attacks destroyed both her career and her personal life, and she died under mysterious circumstances at the age of 40. This panel proposal invites submissions that could address not only Seberg’s film work but also the issues raised by her life, including celebrity activism, racial injustice, and government overreach, which remain relevant in today’s political climate. Possible topics include (but are not limited to): -- Seberg’s involvement with the French New Wave -- Seberg’s influence on later performers and filmmakers -- Seberg as representative of changes in America in the 1960s and ‘70s -- Feminist evaluations of Seberg’s work and life -- Seberg as precursor to today’s celebrity activists -- Seberg as an example of government overreach and the targeting of high-profile activists -- Seberg’s significance as a fashion icon -- Seberg influence on international co-production in film -- Seberg’s work with specific directors (such as Preminger, Godard, Chabrol, etc.) Please submit paper proposals, including an abstract (2500 words maximum), up to five bibliographic citations, and a brief bio, to Richard Ness at rr-ness@wiu.edu by August 5, 2019.
by R. Ness
Tuesday, July 16, 2019
CFP Workshop - Creative Approaches in Media History and Theory Courses Locked Topic 0 A. Gadassik Call for Workshop Participants:  Thinking through Making: Creative Approaches in Media History and Theory Courses The relationship between theory and practice has always been a fraught one in higher-education media curriculum – inevitably unbalanced in one direction or another, depending on the institution. This balance typically plays out through distinct “academic” and “studio” courses, which either operate as separate programs or form into uneasy patchwork degrees. Their separation has played an important role in protecting the integrity of each kind of curriculum, but it has also set up rigid and often frustrating boundaries between the kind of teaching and learning that happens in the classroom. Recent research in media pedagogy emphasizes the importance of bridging thinking and making, and postgraduate media degrees increasingly make room for praxis-based research. Yet much of the discussion still tends to focus on studio curriculum and production majors. This workshop, instead, aims to focus on academic curriculum (history, theory, philosophy) in film and media studies, which may not necessarily be exclusive to media production students. The workshop takes for granted that all students, regardless of major, have the capacity to make images, and that many students already doodle, draw, take photographs and videos, or produce media objects in their daily lives. How can this capacity for making enhance students’ relationship to media history, theory, and philosophy? How can low-stakes creative assignments foster a deeper and more critical engagement with complex ideas? Where can image-making connect with thinking, closer reading, and stronger writing? The aim of the workshop is to share and explore specific strategies for engaging students through active and creative exercises across a range of history/theory/philosophy topics. Participants will introduce specific methods or strategies that they have successfully applied in different academic contexts. Creative approaches with low technological barriers or that accommodate students (and faculty) with a wide range of technical skill without requiring lengthy technical instruction are especially welcome. Workshop attendees alongside participants will actively workshop how different strategies can be applied to their own course material.   Interested participants should submit a proposal that includes: An introduction that that contextualizes how they situate their teaching within the larger curriculum of their institution, and why introducing creative learning into history/theory/philosophy has been important for their teaching (max. 100 words) A brief summary of a particular type of creative strategy or method that they successfully employed in at least two different academic courses to engage students in media history/theory/philosophy (max. 250 words). A sample syllabus or assignment sheet that illustrates the above (this will not be circulated or shared with anyone) Bio (max 50 words) Please send your proposal to Alla Gadassik at gadassik@ecuad.ca no later than August 1. All received submissions will receive a confirmation, and decisions will be made by August 12. Final proposals will be due by August 19.
by A. Gadassik
Tuesday, July 16, 2019
CFP: Cosmic Imaginaries in Socialist Film and Media Locked Topic 0 H. Goodwin This panel considers how cinema and other media forms have contributed to the construction of cosmic popular imaginaries across the socialist world. How has the cosmos been envisioned and mediated across different socialist societies? Can commonalities be found among the cosmological imaginaries of different socialist national cinemas? What particular meanings do space travel—whether documented or fictionalized—and the contemplation of the universe beyond the earth take on in socialist film and media? We invite proposals related to representations of cosmology and astronomy in cinema emerging from socialist and post-socialist contexts. Papers may also address how visions of the sky, stars, and space travel displayed in socialist media differ from those arising within the United States? We would be particularly interested in papers that engage with the relationship between cosmology and memory. While science fiction is so often oriented toward the future, it often also engages with questions of human pasts and earthly preservation, and cosmological visions within fiction cinema often serve as conduits for memory and history. Documentary films addressing astronomy and space travel also frequently interweave reflections on cosmic temporalities with narratives of human histories. These connections between memory and cosmology are evident in recent critically acclaimed films such as Interstellar (Nolan, 2014), Melancholia (Von Trier, 2011), and Nostalgia for the Light (Guzmán, 2011). In this panel we want to look specifically at how these relationships play out in diverse socialist and post-socialist media environments. How do past explorations of space enter cinema and other kinds of media to constitute collective memories and narratives of socialist nationhood? How do depictions of the cosmos provide avenues for constructing history and memory, rather than just futuristic ambition, within socialist film and media? Current panelists examine case studies from Hungary and Cuba.  Please send any inquiries and paper proposals to Hannah Goodwin (hgoodwin@mtholyoke.edu) and Bianka Ballina (blb@ucsb.edu) by August 2, 2019. Proposals should include a title (max. 120 characters), abstract (max. 2500 characters), 3-5 bibliographic sources, and a bio (max. 500 characters). Panelists will be informed of decisions by August 5, 2019.
by H. Goodwin
Tuesday, July 16, 2019
CFP: ExFM on Art and Artists Locked Topic 0 T. Ridlen Experimental Film and Media on Art and Artists   In 1955, Hans Richter’s article in Film Culture challenged film to establish itself as an original art form. His essay opens with the question, “To what degree is the camera (film, color, sound, etc.) developed and used to reproduce (any object which appears before the lens) or to produce (sensations not possible in any other art medium)?” The tradition of experimental film inherited from Man Ray or Maya Deren also worked towards advancing cinema-specific ends while using sculpture and dance as a means.⁠ By focusing on works about art and artists, this panel seeks to recast experimental film’s version of the classical paragone, the competition and comparison amongst the arts, as a complex set of mediations. Examples include Robert Breer’s Homage to Homage to New York, Jonas Mekas’s Award Presentation to Andy Warhol, or George Kuchar’s House of the White People, which shows George Segal’s sculptural casting process. Other examples may also come from experimental media. For instance, some of the earliest critical writings on video art, including Douglas Davis, David Antin, and Rosalind Kraus, treated the video medium in terms resembling the paragone, while others insisted on its essential sameness with older practices. By looking at films and media art about artists and their work, this proposed panel seeks to further our understanding of the postmedium condition that emerged in the 1960s as well as our contemporary intermediality, the creative process, labor, and modes of artistic production. Recent anthologies and exhibitions on the relationship between photography/film and sculpture, for example, have begun to explore this topic from many angles, including visual culture, philosophy, and history. This panel welcomes all of these approaches towards the study of experimental film and media art about other art and artists. Please submit abstracts and references by August 10, 2019 to tridlen@ut.edu.   References:   Hamill, Sarah, and Megan R. Luke, eds. Photography and Sculpture: The Art Object in Reproduction. Los Angeles: Getty Research Institute, 2017.   Kaizen, William.Against Immediacy.  Hanover: Dartmouth College Press, 2016.   Richter, Hans. "The Film as an Original Art Form." In Film Culture, edited by P. Adams Sitney. New York: Cooper Square Press, 2000 [1955].   Wood, Jon, and Ian Christie, eds. Sculpture and Film. London and New York: Routledge, 2019.    
by T. Ridlen
Tuesday, July 16, 2019
Non-binary Gender Approaches to Cult and Fan Media Locked Topic 0 T. Nakahara The act of unravelling ideological practices as they appear in (visual) culture includes not reinforcing the exact ideologies that are under scrutiny. In this panel, we aim to contribute to the ongoing effort of discussing gender outside of and beyond binary structures. This project takes various media with established fan bases (sometimes with the label “cult”), and re-examines them and their scholarship from non-binary perspectives. For instance, we consider how some “cult” objects (especially “exploitation” media) often rely on the ideological practices that naturalize and moralize along dualistic constructions of gender, sexuality, race, ethnicity, and geography. For those examples, dualisms are the foundation of exploiting the concept of transgression or presenting camp pastiches that illuminate the constructed and fragile binary structures. For more “mainstream” cult films, non-heteronormative readings help to investigate how leadership is constructed in the media through all aspects of the body, performance, and the narrative in ways that polymorphically do not adhere to dualistic constraints of “what a leader looks like.”  This panel, therefore, examines visual artifacts that have had particular longevity and resonance to explore richer readings of the media, their fan experiences, and the ways in which our approaches can honor the non-binary character of the objects themselves. This panel is part of an anthology project on the same topic. Please send your submission through this submission form by August 5, 2019. If you have any issues, please contact Tamao Nakahara (tamaonakahara@gmail.com) or Ernest Mathijs (ernest.mathijs@ubc.ca).
by T. Nakahara
Monday, July 15, 2019
Queer(ing) & Trans(lating) Cinema & Media Archives Locked Topic 0 D. Lugowski Hi! I'd like to propose a pre-constituted panel on the use of archives (be they relatively public or more private) and archival material, for LGBTQ+ media studies. I want to consider terms like "archives," "archival material" and "LGBTQ+ media" in broad and inclusive ways. Papers can include those that use archival research to enable LGBTQ+ readings of media texts, artists, censors, institutions, audiences and/or other social formations. They could also utilize archival information and materials in ways to revise, critique or challenge--that is, queer or trans(late)--media texts and institutions, or existing readings or perspectives. Papers could also relate and incorporate archival materials, research, theory and viewpoints into queer-ing and trans-lating existing critical, theoretical and historiographical paradigms. And of course they might also take a more speculative approach into the challenges, merits or limitations of the "archive" for LGBTQ+ media studies, what it might mean to queer or to trans(late) an archive, or what might even constitute an LGBTQ+ media archive of cinema, TV, radio, video games, comics, or online/social media, and/or reviews, publicity, news, censorship, controversies or debates about such media. Please email proposals not exceeding 2500 characters (including spaces), plus a biographical sketch not exceeding 500 characters and 4-5 bibliographical sources to me at David.Lugowski@mville.edu or lugowskid@mville.edu. Please do so before 11 p.m. EST on Thursday, August 8, 2019. I will let people know about accepted proposals on or before Tuesday, August 13 as per SCMS deadlines. I will try to respond to questions before the August 8 deadline (and after) but please note that I will be out of the country, with somewhat limited access to email, between July 25 and August 5. Thanks, and I look forward to hearing from you!   --David Lugowski, Professor of English and Film/Media Studies, Manhattanville College
by D. Lugowski
Monday, July 15, 2019
The Matter that Makes Media Matter Locked Topic 0 C. Stratton   Hi friends,   I’m looking to organize a panel on the materiality of media, something along the lines of the following:   The affordances of media technologies and everything they enable are predicated on the unique qualities of certain substances that ultimately originate in nature. Not only is this matter fundamental to media, but the selection, extraction, modification, and combination of substances that occurs in the production of media are social, cultural, economic, political, and ecological processes. As media materializes and de-materializes, we can see how they are embedded within the natural environment, how they interact with our biology, how they are coproduced by human and nonhuman natures, and how they are reabsorbed by the natural world once discarded. Furthermore, the materialization and de-materialization processes of media have certain power-geometries, or uneven geographical distributions of the costs and benefits of their creation, maintenance, and disposal — which is to say that how media materializes matters to both humans and nonhumans. So with this panel I hope we can foreground and address some of the socio-material aspects of media.   Some key questions to address might be: What are certain kinds of media made of, and how are they materialized/de-materialized? How are the global supply chains of certain media geographically distributed? What environmental and/or human costs and consequences must be incurred to produce, distribute, sustain, access, store, and discard particular media content and/or technologies? How does attending to the materiality of media illuminate the relationality between nature and society?    If any of this sounds interesting to you, please send an abstract with a few bibliographic sources and a short bio to me, Cole Stratton, at stratton@iu.edu by August 1st. Feel free to email with any questions, comments, suggestions, etc.    Hope to see you in Denver!
by C. Stratton
Monday, July 15, 2019
CFP: Ryan Murphy and the Changing Face of Television Locked Topic 0 D. Coon Ryan Murphy is one of the most prolific creators in contemporary television, serving as the creator, writer, director, and/or producer on series such as Popular, Nip/Tuck, Glee, The New Normal, American Horror Story, Feud: Betty and Joan, American Crime Story (The People vs. OJ Simpson and The Assassination of Gianni Versace), Scream Queens, 9-1-1, and Pose. Following in the footsteps of one of his idols, Norman Lear, Murphy has sought to use television as a tool for addressing social issues while entertaining audiences. This panel will examine some of the television content produced by Murphy and his collaborators to explore how they have worked to change the face of television as one step toward changing society. Some ideas that might be explored by way of Murphy’s television programs include: -LGBTQ+ stories, themes, performers, and creators -Transgender visibility -Queer aesthetics -Queer authorship -Murphy’s Half Initiative and opportunities for women and minorities behind the camera -Innovative storytelling structures -Racism, sexism, and ageism in Hollywood and beyond -Diversity in casting -Collaboration with creators and performers To propose a paper for this panel, please send an abstract (approximately 250-300 words), tentative title, 3-5 bibliographic entries, and a brief bio to David Coon (drcoon@uw.edu) by August 3. Inquiries are welcome at any time.
by D. Coon
Sunday, July 14, 2019
CFP: Indigeneity and Horror Locked Topic 0 M. Leeder In his classic essay “An Introduction to the American Horror Film,” Robin Wood establishes the basic formula of the horror film as “normality is threatened by the monster.” He subsequently mentions that if one were to “substitute for ‘Monster’ the term ‘Indians’ . . . one has a formula for a large number of classical Westerns.” Wood’s point is to establish the flexibility of his framework but it also points in another direction: the monstrousness of the idea of Indigeneity within the colonial mindset. Today, one of the most exciting growing areas in horror cinema at the moment comes from Indigenous persons. In Canada, Jeff Barnaby (Mi’gmaq) will soon release Blood Quantum (2019), a zombie film set on the same reserve as his earlier Rhymes for Young Ghouls (2013) -- which Scott Pewenofkit has suggested “may be the first truly Indigenous horror film,” dipping as it does into the representational space of the horror film (the zombie film, especially) to allegorize the real-life, genocidal horrors of the residential school system.   Only recently has scholarship emerged on distinctly Indigenous horror and Gothic literature and film; examples include Joy Porter’s chapter in The Palgrave Handbook to Horror Literature (2018), Ariel Smith’s article “This Essay Was Not Built On an Ancient Indian Burial Ground” (2014) and Gail de Vos and Kayla Lar-son’s contribution to The Horror Companion (2019). This panel asks: how does Indigenous horror contribute to or even challenge our understanding of the horror genre and of horror theory?   We seek papers for the 2020 SCMS conference in Denver (April 1-5). Topics may include:   Particularities of different settler-colonialist nations (Canada, the United States of America, New Zealand, Australia, etc.) and their film industries   The monster as a figure of Othering vs. a figure of resistance   The relationship of Indigenous horror literature and film   Reinterpretations of classic horror narratives are ripe for revisiting through the lens of Indigeneity   Indigenous spins of familiar horror figures (vampire, zombie, werewolf, ghost, etc.), and conversely, settler appropriation of folkloric figures like the Wendigo   Cycles of horror production that have favoured Indigenous characters and themes (e.g. ‘70s eco-horror)   Genre hybridity (the Western, science fiction, fantasy, magic realism, drama, comedy, romance, etc.)   Film festivals, funding structures, etc.   Please submit a title, an abstract (max. 2500 characters), a bio (max. 500 characters), and 3–5 bibliographic sources to murray.leeder@nucleus.com and gdrhodes@gmail.com by August 1. Responses will be given by August 13.       Murray Leeder holds a Ph.D. from Carleton University and is a Research Affiliate at the University of Manitoba. He the author of Horror Film: A Critical Introduction (Bloomsbury, 2018), The Modern Supernatural and the Beginnings of Cinema (Palgrave Macmillan, 2017) and Halloween (Auteur, 2014), as well as the editor of Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era (Bloomsbury, 2015) and ReFocus: The Films of William Castle (Edinburgh University Press, 2018), as well as numerous articles and book chapters.     Gary D. Rhodes currently serves as Associate Professor of Film and Mass Media at the University of Central Florida, Orlando. He is the author of Emerald Illusions:  The Irish in Early American Cinema (IAP, 2012), The Perils of Moviegoing in America (Bloomsbury, 2012), and The Birth of the American Horror Film(Edinburgh University Press, 2018), as well as the editor of such anthologies as Edgar G. Ulmer:  Detour on Poverty Row (Lexington, 2008), The Films of Joseph H. Lewis (Wayne State University, 2012), and The Films of Budd Boetticher (Edinburgh University Press, 2017). Rhodes is also the writer-director of such documentary films as Lugosi: Hollywood's Dracula (1997) and Banned in Oklahoma (2004).  Forthcoming from Edinburgh University Press is the monograph Consuming Images:  Film Art and the American Television Commercial, coauthored with Robert Singer.
by M. Leeder
Sunday, July 14, 2019
CFP: Tentpole Television Locked Topic 0 C. Barker SCMS 2020 — Tentpole Television The dramatic increase of U.S. original scripted TV productions over the last decade has come to be known as “Peak TV.” As Hollywood mega-corporations intensify their investment in streaming platforms to compete with Netflix, new TV offerings will be more ubiquitous — yet more isolated behind exclusive paywalls — than ever. Enter the industry’s latest buzz-phrase: tentpole TV.  Borrowed from Hollywood’s abiding blockbuster strategy on the film side, tentpole TV is expensive, sprawling, and calibrated to generate endless memeable content as much as it's intended to reach the mythical “four quadrants” of the audience. In theory, tentpole TV breaks through the clutter of Peak TV and streaming silos and makes the studio’s significant investment worthwhile. The label is attached to recent long-running hits like Game of Thrones, The Walking Dead, or Stranger Things. Yet, the term also commonly appears in trade think-pieces about the future of program development on nascent platforms from Disney, Apple, and WarnerMedia, or in speculation about how HBO moves forward without Thrones, its largest tentpole.  For those that follow these industry discourses, tentpole TV emerges as a contradictory phenomenon. It’s often framed as a modern artifact oriented toward the streaming environment, but many noted examples come from veteran media companies. Every corporation is desperate to develop their own tentpoles, but Game of Thrones is regularly cited as the “last” one.  This panel seeks to interrogate the different contexts in which the tentpole TV concept is mobilized. Possible approaches/topics might include, but are not limited to: Formal characteristics of supposed tentpole shows, and any commonalities across different programs Tentpole TV in the transnational context Historical perspectives on prior generations of tentpole TV Promotional and publicity campaigns for tentpole shows Distribution strategies surrounding tentpole TV on streaming platforms and/or traditional networks and channels The economics of tentpole TV and transparency related to ratings, streams, etc. Cross-industry analysis between tentpoles in film and in TV Surveys of how tentpole TV discourses intersect with “quality” and prestige TV  Circulation of memes and viral content related to tentpole TV Please email paper proposals, including a title, 300-word abstract, 3-5 bibliographic sources, and a short bio to Dr. Cory Barker (cabarker@bradley.edu) by Wednesday, August 14. Potential panelists will be informed of decisions by Friday, August 16.  
by C. Barker
Sunday, July 14, 2019
CFP The Business of Romance Locked Topic 0 J. Greene I’d like to organize a panel that addresses the function of the romantic comedy genre in the film industry AND the representation of business/work in the romantic comedy genre.  Topics include but are not limited to: The role the genre plays in Hollywood or other national film industries. E.g. what demographic does it attract and how does that shape its budget, casting, form and style?  The industrial factors that contributed to its so-called demise in the early 2010s and its recent revival in theatrical and streaming platforms. How has it been re-shaped over the years to appeal to different demographics? The industrial needs and constraints that shape the representation of gender, sexuality, marriage, and family in the genre. How has this changed from classical to contemporary era, or how does it compare across film industries? The business of selling RomCom: what particular marketing strategies, tie-ins, product placements, costumes, set designs, etc. does the genre make possible or necessitate? How do romantic comedies represent the “work/life balance,” especially with regard to changing role of women in the workforce. What jobs and or capabilities do films suggest are appropriate for women or men? What role should work play in relation to romance? Do female characters have to make choices about balancing work and romance that male characters do not? Email me a description of your paper (about 100 words) and a short bio by August 2nd. If there is enough interest in the panel, I promise a quick response, and I would like final paper proposals no later than Aug. 20th.    Jane M. Greene Denison University, Dept. of Cinema greenej@denison.edu
by J. Greene
Sunday, July 14, 2019
CFP: Law & Order: SVU Anniversary Panel Locked Topic 0 J. Zale Law & Order: SVU and 20 Years of Changing the Culture Surrounding Sexual Assault Law & Order: Special Victims Unit will make history when it returns to the small screen for a record-breaking 21st Season in September 2019. The police procedural about sexually based offenses will become the longest running prime time live-action series in television history, surpassing Gunsmoke and the original Law & Order that both ran for 20 seasons. The shows lead character, Olivia Benson, and the actress who portrays her, Mariska Hargitay, will also secure a place in TV history. Along with the show, Benson will become the longest-running character in a prime-time action series. In addition to being a very high quality and entertaining program that one would expect from television mogul Dick Wolf, SVU holds a special place in the cultural landscape and has been a catalyst for change in the areas of rape culture, and how society deals with and understands survivors of sexual assault. The show unsurprisingly received additional praise and attention at the dawn of the #metoo era. When SVU premiered in 1999 it broke ground by fearlessly tackling the then still taboo topics of rape and sexual violence. As viewers welcomed the show into their homes, conversations were started and survivors began to come forward, often confiding in Hargitay through letters. During its 20 year run SVU has inspired generations of viewers to become activists and to choose careers as police officers, lawyers and medical professionals who work with survivors of sexual assault. Today viewers ranging from preteens to the elderly are avid fans of the show and consider Benson/Hargitay to be a hero. Indeed, the line between Benson and the actress who portrays her are blurred as Hargitay has become a prominent anti-sexual assault activist herself. She trained as a rape crisis counselor to prepare for the role, and in 2004 she founded the Joyful Heart Foundation, a leading national organization that aims to change the culture around sexual assault/violence, and supports the healing process for survivors. Hargitay has also been instrumental in the movement to #endthebacklog of untested rape kits, producing and appearing in the important documentary I Am Evidence, working with VP Joe Biden who made a cameo on SVU promoting the cause, and testifying on behalf of rape survivors on Capitol Hill. She regularly makes announcements to her 1.5 million Instagram followers, urging them to donate, support initiatives meant to end sexual violence, and sometimes just making sure everyone is aware of how sexual violence permeates our society. She has over 1k fan accounts that repost her messages, and celebrate Hargitay, Benson and SVU. Many of these accounts are run by members of Generation Z who have great admiration for the 55 year old actress. This panel seeks papers that celebrate the legacy of SVU while linking the show to the positive ways that it has changed our society. The ways that such a paper could be structured are broad and numerous. They include, but are not limited to textual analysis of specific episodes, the philanthropic work of Hargitay and other members of the SVU team, consideration of the social media presence of SVU, Hargitay and her colleagues, and the study of the audience breakdown of SVU fans. While your presentation should focus on the show’s positive influence, you are welcome to write a balanced paper that includes the ways that the show has been problematic or unrealistic. Please submit inquiries and proposals, including title, abstract (max. 300 words), 3-5 bibliographic sources, five keywords, and a short bio to Jennifer Zale (jazale@indiana.edu) by Sunday, Aug. 10. You will be notified of all final decisions by Aug. 13.          
by J. Zale
Saturday, July 13, 2019
CFP: (Post-)colonial energy infrastructures & media Locked Topic 0 A. Pasek ***Call for submissions to join an SCMS 2020 pre-constituted panel submission on media, energy infrastructures, and periods of energy transition within settler colonial and postcolonial contexts*** Media both represent energy futures and are materially entangled in complicated energy presents. Media networks are also broadly conditioned by the long shadow of the colonial infrastructures and lifeways that to varying degrees determine how broadcast, data storage, and distribution are powered and practiced. Media are therefore key sites in which energy transitions and decolonization can be imagined, enacted, or resisted. Our panel is an attempt to think widely about questions of energy transition and mediation, including not only contemporary decarbonization movements, but also historical periods of change. While we’re clearly in the midst of a groundswell of environmental media scholarship related to climate change and energy transition, more work still is needed to address how these historical and contemporary practices intersect with Indigenous sovereignty struggles, anti-colonial thought, and leftist organizing towards a just transition, particularly in these groups’ strategic use or resistance to media infrastructures.  Since periods of energy transition can open up other possibilities for social, cultural, economic, and political upheavals, how are media infrastructures channeling, responding to, facilitating or otherwise implicated in these currents of change? What role has media played both ideologically and aesthetically in historic settler states to help or hinder energy transitions? How might the currently entangled nature of media and energy infrastructures complicate or calcify these precedents? What models outside of colonial or capitalist logics can be draw upon to think energy and media differently? Possible topics include (but are not limited to): - Resource colonies and the mediated production of regional identity - The expansion of unconventional fossil fuel extraction in state, industry, and/or activist media - Continuities in place and aesthetic practices in representations of fossil and renewable energy sources - Sacrifice zones and media practices in frontline communities  - White supremacy, affect, and energy under crisis - How media and energy infrastructures might be integrated into Indigenous land sovereignty claims and practices (as in, for example, Māori claims to the radio spectrum) Please submit a title, abstract (250-300 words), and brief bio to Anne Pasek (apasek@ualberta.ca), Hannah Tollefson (hannah.tollefson@mail.mcgill.ca) and Rachel W. Jekanowski (rachel.w.jek@gmail.com) by August 10th. If there is enough interest in the subject, we will put together two pre-constitutes panels. We promise a quick turn around with decisions. We especially welcome contributions by women and BIPOC scholars. Thanks for your interest & looking forward to hearing from you!
by A. Pasek
Saturday, July 13, 2019
CFP Roundtable "Global TV Images of Female Masculinity" Locked Topic 0 J. Zhao Roundtable Theme:   Global TV Images of Female Masculinity   Chair(s):   Co-chaired by Jamie J. ZHAO (XJTLU) and Eve NG (Ohio U)   Call:   In recent years, TV representations of female masculinity have proliferated and diversified worldwide. Notable examples include the white lesbian landowner Anne Lister in the historical drama Gentleman Jack (BBC/HBO, UK/USA, 2019-), the African American lesbian Denise in the web series Master of None (Netflix, USA, 2015-2017), the tomboyish participants of the reality singing competition Super Girls’ Voice (HTV, China, 2004-2016), the cross-dressing female protagonist raised as a boy in the drama Bromance (SETTV, Taiwan, 2015-2016), and the butch lesbian beauty contest segment, “That’s My Tomboy,” in the Philippine daytime variety show It’s Showtime (ABS-CBN, Philippines, 2009-).   Along with this surge in masculine female TV culture, there has been a growing body of scholarly literature on media and public imaginaries of female masculinity in different geo-locales since the late 1990s. J. Jack Halberstam famously noted that “far from being an imitation of maleness,” female masculinity is one of many “alternative masculinities” that manifests a continuum of various masculine traits and identities embodied or enacted by cis-females, such as tomboyism and butchness, the definitions and calibration of which are often socioculturally and racially modelled (1998, 1). In various forms of contemporary media, tomboyism is often understood as “an extended childhood period of female masculinity” (Halberstam 1998, 5), or a female “masculine gender identification” that may be “visibly reminiscent” of a passing, youthful (though not necessarily nonheterosexual) identity for female audiences (Kam 2014; Martin 2010).   Moreover, the culturally specific understandings and imaginaries of masculinities embodied by cis-females have been important threads in world gender studies and global queering theory. For instance, Halberstam’s research reveals the discrepancy between recognizable American rural and urban female masculinities (1998, 57-58). Audrey Yue’s research on Asian drag kings in Australia also illustrates that compared to normative Western butchness, the diasporic Asian butch “situated in an Anglo-dominated lesbian scene is simply not … masculine enough” (2008, 261-262). In addition, as Helen Leung remarks, the unique historical trajectory of Mainland Chinese female androgyny, as well as the social tolerance (with patriarchy and homophobia in essence) and trivialization of female homosexuality in modern and contemporary China, made invisible local masculine lesbian identities and gendered expressions (2002, 129).   With a specific focus on global TV in the 2010s, we intend this roundtable to initiate a productive conversation about the variety of ways in which female masculinity has been imagined, idealized, troubled, deconstructed, and remodified on contemporary TV, and the relation of these representations to the sociocultural contexts from which they emerge. We aim to explore the following questions: How are TV images of female masculinity constructed through negotiation with local, transregional, and global media and public discourses? How and why can TV imaginaries of female masculinity in certain sociocultural contexts be linked to, or decoupled from, female heterosexuality/homosexuality? In what ways can ethnicity, class, and geopolitics complicate TV representations of female masculinity? Talk proposals dedicated to non-Anglo-American cultures from a de-Western-centric perspective are especially welcomed.   Potential topics include but are not limited to: Tomboys on reality TV Masculine lesbians in TV series Gender-nonnormative or trans female celebrities on TV TV representations of masculine female athletes, warriors, spies, soldiers, or other forms of “heroic,” “aggressive,” or “rebellious” masculinity in women The ways in which gender non-conformity and class in women intersect in TV representations The intersectionality of female masculinity and non-Caucasian, non-Anglophone-speaking identities on TV Cross-dressing female characters and/or drag king culture on TV Televisual imaginaries of heterosexual-identified, masculine women TV framing of gendered differences and subjectivities of masculine and feminine women/lesbians   Please send 1). A short bio (around 75 words), current status, contact email, and affiliation; 2). Presentation title; 3). Presentation abstract (around 350 words) that delineates the focus and/or case studies/examples, analytical angles, preliminary findings, and contribution of your research by August 5th, 2019 to us at jingjamiezhao@gmail.com and nge@ohio.edu. Notifications of acceptance will be sent out by August 13th, 2019. If you have any further questions, please do not hesitate to contact us at the above two email addresses.   Kindly note that SCMS requires roundtable participants to be current members of SCMS at the time of submission.  Membership dues are not refunded to participants of a declined proposal submission. Only one submission (strict one role rule) per person.       Co-Chair Bios:   Jamie J. Zhao is a global queer media scholar and currently Assistant Professor of Communications at Xi’an Jiaotong-Liverpool University (University of Liverpool, China campus). She holds a PhD in Gender Studies from the Chinese University of Hong Kong and another PhD in Film and TV Studies from the University of Warwick. She coedited HK University Press’s 2017 anthology, Boys’ Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan.   Eve Ng is an associate professor in Media Arts and Studies and Women’s, Gender, and Sexuality Studies at Ohio University. Her research includes work on cultural production and viewer engagement around LGBTQ media, social media and participatory practices, and LGBTQ media and activism in Southeast Asia, and has appeared in Communication, Culture, & Critique, Development and Change, Feminist Media Studies, Journal of Film and Video, Popular Communication, and Transformative Works and Culture.     Bibliography:   Halberstam, Judith (see also Halberstam, J. Jack). 1998. Female Masculinity. Durham, NC: Duke University Press.   Kam, Lucetta. 2014. “Desiring T, Desiring Self.” Journal of Lesbian Studies 18 (3), 252-65.   Leung, Helen. 2002. “Thoughts on Lesbian Genders in Contemporary Chinese Cultures.” In Femme/Butch: New Considerations of the Way We Want to Go, edited by Michelle Gibson and Deborah T. Meem, 123-33. New York: Harrington Park Press.   Martin, Fran. 2010. Backward Glances: Contemporary Chinese Cultures and the Female Homoerotic Imaginary. Durham, NC: Duke University Press.   Yue, Audrey. 2008. “King’s Victoria: Asian Drag Kings, Postcolonial Female Masculinity, and Hybrid Sexuality in Australia.” In AsiaPacifiQueer: Rethinking Genders and Sexualities, edited by Fran Martin, Peter Jackson, Mark McLelland, and Audrey Yue, 251-70. Urbana, IL: University of Illinois Press.    
by J. Zhao
Friday, July 12, 2019
CFP: The Unreproducible Locked Topic 0 A. Lison Call for Panelists: The Unreproducible Mediation is predicated upon the reproduction of sensation; without reproducibility, or at least its semblance, we could not speak of films, recordings, books, performances, or software programs as coherent objects. Yet, for a variety of reasons, media objects themselves are not always perfectly reproducible. Radio and television programs, especially in the early broadcast era, may have never been recorded. Alternately, they may have been captured only to be subsequently overwritten by other programming in order to conserve storage media. Legendary performances such as the debut of Stravinsky’s The Rite of Spring may be known only through reports, while wax cylinder recordings may exist, yet be too fragile to play any longer. In short, the material exigencies of mediation confront the drive toward ubiquitous reproduction exemplified by our contemporary, digitally-networked moment in what anthropologist Anna Lowenhaupt Tsing has described in a very different context as the “friction” between the particular and the universal, the local and the global. This panel seeks to bring scholars working on a variety of media forms together to discuss the limits of reproducibility within mediation and media studies. Topics may include, but are not limited to, empirical considerations of “lost” media objects, “dead” formats, or technological obstacles to digitzation and theoretical reflections on mechanical reproduction (e.g., Walter Benjamin), its electronic successors, or, ultimately, loss as it relates to mediation in either technical (compression) or psychoanalytic (mourning/melancholy) registers. How do such cases challenge and/or illuminate the push to render virtually all media globally available online, a trend increasingly indistinguishable from the larger tendency toward universal equivalence under global capitalism? In this regard, we are especially interested in proposals addressing challenges to digital reproducibility from with the realm of digital media itself (e.g., unemulatable systems, collector hoarding of “rare” games, etc.) and those focused on technologies or objects that are over a century old and/or of non-Western origin. Interested panelists please submit a 250-300 word abstract, a 50-100 word bio, and a 3-5 entry bibliography to alison@buffalo.edu by August 10, 2019. Those who do so will be notified of the panel's constitution by August 14, 2019. Contact: Andrew Lison, Assistant Professor of Media Study, University at Buffalo, SUNY; alison@buffalo.edu
by A. Lison
Friday, July 12, 2019
Media Economies in the Contemporary Middle East Locked Topic 0 N. Moradiyan-Rizi CFP: Media Economies in the Contemporary Middle East    While global images of the contemporary Middle East tell us stories of endless wars, forced displacement, and authoritarianism, a focus on local processes of media production and circulation broadens the scope of what media can mean for the region. In the past fifteen to twenty years, we have observed multiplied efforts, both top-down and bottom-up, to develop media networks, institutionalize media, and strengthen existing industrial infrastructures. From informal economies, film festivals, satellite TV, reality and children TV to “Arab media Moguls” and Islamic media, the diversification of recent academic literature on Middle Eastern media economies is testament of a lively debate in the field. This panel seeks to retrace the global, transnational, regional, and local logics according to which media economies, understood broadly as to include institutions and industries as well as less formal endeavors, take shape in today’s Middle East. We question how these economies are symptomatic of, accompany, negotiate, or propel changing political economies, political regimes, political imaginaries, social formations, media histories, or cultural and religious paradigms. We welcome papers that experiment with various theoretical and methodological approaches in a diverse, contemporary Middle Eastern context.  Topics may include, but are not limited to:   -        Historicization of contemporary media economies  -        Production, distribution, reception, or audience studies  -        Informal economies -        Anthropology of media industries -        Decolonizing media industries studies -        Media industries and racial capitalism -        Media economies and gender/sexuality -        Islamic media economies -       Solidarity economies  -        Processes of industrialization and institutionalization -        Politics of recognition -        Media moguls  -        Grassroots / institutions relations -        State and non-state institutions -        Issues of funding and co-production -        Issues of media development/aid economy -        Media industries and human rights economies -       Regional versus global industries Please submit a 200-250 word abstract, 5 Bibliographic sources, 5 keywords, and a short professional biography to viviane.saglier@gmail.com AND najmehmr@ku.edu by August 1, 2019.    
by N. Moradiyan-Rizi
Wednesday, July 10, 2019
CFP: Fashioning Femininity: Female Celebrity, Fashion, & Beauty as Industry Locked Topic 0 L. Schumacher The fashion and beauty industries are integral in the construction of the female celebrity image. From historic partnerships such as Audrey Hepburn and Givenchy, to the Kardashian sisters making waves in fashion and beauty with their own brands, the celebrity and beauty/fashion industries have often found themselves inextricably linked. This panel will be concerned with how visual and aesthetic markers of female celebrity construct, define, police, and make legible various aspects of female identity. This can include both how these signs are understood and interpreted by fans and audiences and/or how the industries involved in celebrity image-making contribute to historical and contemporary understandings of female identity. Papers on this panel will ideally engage with star studies and gender studies literature and may also look to fashion/entertainment industry literature such as that of Brooke Erin Duffy and Minh-Ha T. Pham.  Topics could include, but are not limited to: how a particular industry or medium (such a women's magazines, Instagram, etc.) have re-shaped understandings of female celebrity  how aspects of age have been defined by fashion and beauty. What are the visual markers of girlhood? Of middle age?  in what ways racial identity and/or ethnicity impacts or is impacted by visual forms of celebrity culture evolutions in the beauty/fashion industries and how female celebrity image has shifted with them (increased use of stylists, rise of online influencers, style bloggers, brand/celebrity partnerships) fashion industry celebrities, from Anna Wintour to street style bloggers increased visibility of trans celebrities and their use of beauty and/or fashion how fans use beauty/fashion to engage with celebrities or other objects of fandom (fan fashion, purchasing celebrity-branded products, etc.) crossover between female celebrity and beauty/fashion industry (rise in celebrity lifestyle brands, sponsored content, fashion collaborations that have defined female celebrities, etc.) If you are interested in participating, please submit abstracts of no more than 200 words to Laura Schumacher at lmschumacher@wisc.edu by August 9.
by L. Schumacher
Wednesday, July 10, 2019
Time and temporality in XR media (VR, AR, MR) Locked Topic 0 L. Efrat Tempor(e)alities: time and temporality in XR media (VR, AR, MR) As famously argued by Paul Virilio (1991), technologies establish temporal regimes as they dictate personal, social, and political temporalities. While Virilio adopts Einstein’s perspective and acknowledges that space and time are inseparable from one another, he also argues for the constitutional quality of the temporal aspect in various technologies as he demonstrates that it is time that shapes space rather than the other way around. While many XR media are often perceived as spatial media, these technologies also possesses a strong temporal aspect as they emerge in real-time and involve multiple temporal aspects, from feedback loops to live computing. Therefore, this panel aims to explore some of the temporal regimes that emerge with XR; what forms of temporalities and temporal experiences do these new tools enable, and how they currently engage with existing perceptions and practices of time?   Relevant topics include, but are not limited to: -        XR and memory\collective memory\digital memory -        XR and feedback\temporal loops -        XR and live computing -        XR and timelessness -        XR and temporal confusion -        XR and parallel temporalities -        XR and human temporal perception -        XR as an ephemeral performance   If you are working in any of these directions, or in any closely related field, please reach out and submit an abstract. If you’re not sure your work will be a good fit, don’t hesitate to email me to discuss it. Your submission should include: (1) a 250 words abstract, (2) a short bio (150 words), and (3) a short bibliographic list (3-5 items). To liron.efrat@mail.utoronto.ca Deadline: July 26th, 2019.
by L. Efrat
Wednesday, July 10, 2019
CFP: Doppelgänger Cinema Locked Topic 0 D. Jeffries p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica} The doppelgänger—most often understood as an exact double of another living person—is a recurring trope of fantastical narratives in literary fiction and cinema. Encountering one’s double endures as the existential crisis par excellence by raising the question: if my doppelgänger is me, then who am I? Consequently, the doppelgänger has functioned as a means of exploring the psychology of characters that have been pushed to the edges of sanity and beyond by forces both internal and external. While the trope has a strong literary tradition, the photographic basis of cinema as a medium has enabled the visualization of perfect doppelgängers, which accounts in part for their proliferation in visual media. At its most basic, cinema has been understood as a reproduction (or double) of reality, offering us an imperfect duplication of the pro-filmic world. Film adaptations of literary works are also often conceived and assessed based on how faithfully they replicate an original source text. More salient in our present moment, digital technologies have allowed for seemingly perfect reproductions, indistinguishable from their originals, which unsettles distinctions between original and copy, like the doppelgänger.   This panel seeks participants looking to explore new facets and understandings of the doppelgänger, especially in relation to contemporary anxieties, subjectivities, psychologies, and case studies.   Please send abstract + bio + paper title (adhering to SCMS character limits) to Dru Jeffries (djeffries@wlu.ca) by August 2. Successful participations will be notified shortly thereafter.
by D. Jeffries
Wednesday, July 10, 2019
CFP: Virtual Reality and the Production of Identity Locked Topic 0 C. Petersen Virtual Reality and the Production of Identity With the debut of standalone virtual reality (VR) headsets such as the Oculus Go and Lenovo’s Mirage Solo in 2018, consumer VR now offers access to interactive experiences set in far-flung environments for less than the cost of a big screen television. While questions of immersion and interactivity have dominated the discourse surrounding VR since Antonin Artaud first coined the term in 1938 and science fiction literature and film such as Simulacron-3 (1964), Neuromancer (1984), Strange Days (1995), and The Matrix (1999) popularized the concept, this panel seeks to consider contemporary VR in relation to questions of subjectivity and identity. How does consumer VR construct its user’s identity? What is the role of individual identity, particularly the user’s body, in relation to contemporary VR experiences and environments? How does consumer VR’s hailing of its user compare to that of other media such as film, television, video games, personal computing, and/or social media? In relation to previous media fantasies of VR technology? I am interested to form a panel that takes up these questions (and more) to consider contemporary VR in relation to the production of identity. Papers could engage with such topics as: ·  Remediation and VR’s relationship to other media’s construction of identity, including video games, film, television, personal computing, social media ·  Immersion, embodiment, and empathy in VR technology, environments, and/or experiences ·  Gender, race, ethnicity, sexuality, class, ability in VR environments, experiences, and/or culture ·  VR and political economy ·  Media fantasies of VR and identity as compared to today’s technology I would like to invite proposals for papers about these and other considerations about VR in relation to questions of subjectivity and identity. Please send an abstract (2500 characters/250-300 words), title, list of works cited (3-5 sources), and brief author bio (500 characters) by August 5. Submitters will be notified by August 12. If you have any questions, please don’t hesitate to contact me. Christina Petersen Associate Professor of Film Studies Eckerd College peterscg@eckerd.edu
by C. Petersen
Tuesday, July 9, 2019

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