SCMS Conference 2020 Panel/Workshop Bulletin Board
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CFP: Mediating the Face Locked Topic 0 A. Maurice   In contemporary culture, modifying, re-making, and fine-tuning the face on screen has become commonplace. Whether in the digitally created or altered faces of Hollywood cinema, or in the social media filters of everyday life, “face culture” has increasingly focused on the mutable, modular face. Yet, the face on screen has always been a highly constructed and changeable object. This panel will consider new approaches to the face on screen, especially those that consider the face from the perspective of construction, mutability, and transformation. This panel welcomes papers that explore new approaches to the face on screen (broadly understood) and also those that re-visit earlier theories and eras in a new context. This panel is particularly interested in going beyond the closeup (though re-considerations of closeup theory are welcome). Papers can focus on any time period and any iteration of the face on screen –  papers that put considerations of early or classic screen faces in conversation with the “face issues” of our contemporary media landscape would also be welcome. Areas of interest may include but are not limited to:  -      Makeup practices and the “construction” of the screen face -      Issues surrounding digital manipulation and/or the creation of digital faces -      Controversies surrounding skin tone and other racially coded facial manipulation (digital or otherwise) -      Questions of gender identity, sexuality, and the face -      Questions of class and race and the face on screen -      The non-normative face on screen -      The face and animality -      Questions of transformation and disguise  -      Mutability and stardom -      Legibility and facial expression -      Re-appearances of photogénie, physiognomy and other modes of reading, decoding, or measuring the face Please send an abstract of roughly 300 words, a short bibliography (3-5 sources), and a brief bio to Alice Maurice at: Abstracts should be sent by August 6.
by A. Maurice
Tuesday, July 9, 2019
CFP: Heirlooms and Afterlives: Media Objects + Generational Inheritance Locked Topic 0 E. Tussey Heirlooms and Afterlives: Media Objects, Generational Inheritance, and Culture Passed Down   As media companies become increasingly reliant on their own content libraries to sell their own streaming platforms and to reboot franchises, they often employ nostalgia to advocate for the continued relevance and value of legacy media properties. In such cases, media properties become like heirlooms, intertwining economic and sentimental values and linking consumers of multiple ages. Properties once thought alienating and oppositional to the sensibilities of baby boomer parents are now considered heritage brands, perpetually re-issued and reimagined as enduring cultural staples. Our panel proposes to bring together research on the concept of inheritance as it relates to the life cycles of media objects and the act of passing on culture from one generation to the next. We seek work that analyzes the depiction of cultural inheritance in film and television and/or the use of nostalgia to sell media objects/franchises from one generation to another. We are particularly interested in work that considers the role of tactility and/or play as analytical lenses for exploring the life cycles of media objects and properties. We welcome work that complicates the tidy linearity of consumer culture “passed down” through generations, by, for instance, probing power relations between adult and child consumers, considering when inheritance goes wrong (objects haunted by supernatural forces, colonial legacies, or harmful stereotypes), or exploring the complex interplay between nostalgia and futurity. The literature that has inspired this work includes: Gray, Jonathan. Show Sold Separately: Promos, Spoilers, and Other Media Paratexts. NYU Press, 2010. Johnson, Derek. Transgenerational Media Industries: Adults, Children, and the Reproduction of Culture. Ann Arbor: University of Michigan Press . (November, 2019) Klein, Amanda Ann, and R. Barton Palmer, eds. Cycles, Sequels, Spin-offs, Remakes, and Reboots: Multiplicities in Film and Television. University of Texas Press, 2016. Sobchack, Vivian. "journal of visual culture: Chasing the Maltese Falcon: On the Fabrications of a Film Prop." Journal of Visual Culture 6, no. 2 (2007): 219-246. If you are interested in joining this panel proposal, please send your abstract (300-350 words), a brief bio, and 3-5 bibliographic sources to and no later than August 1. Decisions will be made by August 12. Final proposals with any edits will be due by August 16.
by E. Tussey
Tuesday, July 9, 2019
CFP: Digital 3D - New Aesthetic and Thematic Dimensions Locked Topic 0 N. Jones Historically associated with novelty, shock, and spectacle, 3D has become firmly established as part of global mainstream cinema exhibition in the 2010s. Even as affordable 3D televisions cease to be manufactured and 3D screenings become an endangered species in some parts of the world, a wealth of films continue to be produced (or, through 3D conversion, post-produced) in the format. Furthermore, as much as 3D may be linked with mainstream blockbusters (especially superhero franchises or films otherwise saturated with digital effects sequences) it has also been employed by arthouse directors like Jean-Luc Godard and Gan Bi in ways that find critical acclaim.   This panel will gather together scholars working on contemporary digital 3D. In particular it will focus on the ways in which 3D films offer distinctive aesthetic experiences (which go beyond dichotomies of immersive space and emergent shock), and the way they use the format to express thematic concerns in ways unavailable to their 2D equivalents. Subjects may include but are far from limited to:   -       3D’s relationship to other digital media -       Expressive techniques employed by recent 3D filmmakers -       The use of 3D by avant garde artists (eg in gallery contexts) -       Digital 3D and genre (eg superhero films, animation, arthouse) -       Digital 3D and film theory -       The relationship of digital 3D to previous ‘waves’ of 3D adoption -       Global patterns of 3D consumption and the relative importance of 3D in key markets such as China -       The appearance of 3D in other media (games, VR) -       The framing of digital 3D in industrial / popular / academic discourse -       The conversion of older films (Titanic, Top Gun, The Last Emperor) for 3D cinema and blu-ray release   If you’re interested in joining the panel, please submit a title, 350 word abstract, 3-5 bibliographic sources and a brief bio to Nick Jones at by 6th August. If you’re not sure your work will be a good fit, don’t hesitate to email me to discuss it.
by N. Jones
Tuesday, July 9, 2019
Jordan Peele CFP Locked Topic 0 P. Ingram   I’m seeking abstracts for papers for a panel on Jordan Peele. With the recent success of his films, Get Out and Us, Jordan Peele has firmly established his place in the horror genre. His work has prompted scholarly attention and a renewed interest in “Black horror.”  I’m interested in papers that consider not just Peele’s work in horror, but any and all aspects of his filmography as actor, creator, producer, or director. Papers might consider Peele’s experimentation with genre, his work in comedy (Mad TV and Key & Peele), his foray into science fiction (Twilight Zone, Lovecraft Country), issues of racial representation and reception, and/or the influence and opportunities his production company, Monkeypaw Productions, has had on and for Black films and filmmakers.   If interested, please submit a title, abstract (250-300 words), and brief bio to Penelope Ingram at no later than July 29th. Decisions will be made by August 12th.
by P. Ingram
Monday, July 8, 2019
CFP Mediation, Exemplars, and Cultural Transformation Locked Topic 0 M. Dalebout CFP — Screening Ourselves: Mediation, Exemplars of Difference, and Cultural Transformation Digital media proliferates, in part, because it allows individuals to adopt, inhabit, revise, and project their ways of being. Liking, saving, and sharing digital objects shapes our personal and social lives, and has transformed what it means to see and be seen, to garner and wield cultural influence. By self-reflexively mediating ourselves in cultural artifacts, what political claims are we adopting about how the world is, or should be? Which lives are screenable, or screened? As opposed to representative exemplars of political and cultural identity who instantiate community norms, I am interested in those figures who Stanley Cavell understood as exemplars of difference. That is, those who, in one way or another, embody claims that exceed such existing norms. In negotiating and inhabiting everyday life, these individuals project to others another sense of how to live, one which does not merely combine and master existing social possibilities nor one which is defined by a contrarian rejection of them. Rather, such a way of life moves beyond ideal and conventional understandings of what lives are recognizable and matter. As such, exemplars of difference are frequently unsettling, provoking others to reexamine the shared conceptual ground that shapes the social and personal possibilities one can acknowledge, or take up. Contemporary cultural exemplars might include Lil Nas X and his song “Old Town Road,” Olivia Wilde’s film Booksmart (2019), Hannah Gadsby’s stand-up performance in Nanette (2018), a television series like Pose (FX, 2018-present), a video game like Red Dead Redemption 2 (Rockstar Games, 2018), or the media savvy of New York Congresswoman Alexandria Ocasio-Cortez. In all of these cases, conventional ways of mediating social norms are invoked but also transfigured, articulating possible (but previously illegible) experiences of living within and beyond social norms. As such, they contribute to our political capacity to acknowledge—and articulate—lives we previously could not imagine. This panel invites papers which consider how such exemplary ways of life are expressed in myriad cultural objects and media forms. (Particularly sought are discussions of how practices of producing and consuming such objects successfully produce political critique and cultural transformation—in the way the work of Davide Panagia suggests, for example.1) Moreover, because such cultural objects—as they endure in time and circulate within and across cultures—become objects of collective invention, in what ways does the history of the proliferation and consumption of such objects reveal itself as a collective political practice of critique and cultural transformation? I look to form an interdisciplinary panel that brings together cinema and media studies and approaches from disciplines including, but not limited to STS, critical theory, philosophy, literature, intellectual history, political science, communication studies, and performance studies. Abstracts should propose a cultural object/event and a theoretical ground for analyzing it. Ideally submissions will offer a provisional critique of how said object/event makes legible an exemplary sociopolitical experience by rearticulating people, places, and/or things in a critical or transformative fashion. Please send an abstract (2500 characters), title, list of works cited (3-5 sources), and brief author bio (500 characters) to Michael Dalebout ( by July 26, 2019. Selected participants will be notified by August 2, 2019. At that time, I will request further information about selected papers in order to prepare the final panel proposal, if necessary.    1 Davide Panagia, “A Theory of Aspects: Media Participation and Political Theory,” New Literary History 45 no. 4 (2014); 527-548. See also, Panagia, Davide. “Blankets, Screens, and Projections: Or, the Claim of Film.” In The Aesthetic Turn in Political Thought (2014): 229-62.
by M. Dalebout
Friday, July 5, 2019
Roundtable - New Books on Gender and Media Locked Topic 0 M. Leigh Lora Mjolsness and I are looking to put together a roundtable discussion new books on gender and film/TV/media for the 2020 SCMS conference. If you have a new book coming out that deals with gender in 2020, we are looking for you. Or perhaps you are completing a manuscript or you have recently finished a dissertation? We thought it would be a good forum for discussing the current state of gender studies in the field.   If you are interested please send an email to or with the following information: * Name * Institutional Affiliation/Independent Scholar * Brief Bio (50 characters) * Title of your book/manuscript/dissertation *1500-2500-character abstract that highlights your project's unique approach to gender and media studies * 3 - 5 bibliographic sources (Just a reminder - roundtable participants should be prepared to speak about their project for no longer than 5 minutes - I know how do you talk about a whole book in 5 minutes, trust me you can do it and in the end we will have a fabulous discussion about gender and media studies.)  Please submit by July 30th. Panelists will be notified by August 15. Do not hesitate to email if you have questions. Michele Leigh & Lora Mjolsness
by M. Leigh
Friday, July 5, 2019
Barbara Stanwyck Locked Topic 0 S. Cohan For the last SCMS, during the introductions of participants and auditors at a seminar on “Why study classical Hollywood today?” the idea of “Stanwyck studies” began to trend amongst us. That has inspired me to propose a pre-constituted panel on Barbara Stanwyck with an eye toward discussions of her career (or, more likely, a specific moment or two in her long career) as it registers conflicts, tensions, growth, transformations, and so forth in the film industry since she successfully changes genres while remaining an A-list movie star and then moves to television. Stanwyck’s filmography, moreover, opens up to different critical methodologies, too—to star studies, genre studies, industry studies, performance studies, biographical studies, not to mention intersectional studies of class, race, and gender. All of these issues contribute to the fanciful idea of “Stanwyck studies,” not so much as a subfield of cinema and media studies but, given her long career and enduring status in the industry, as a portal for re-viewing issues pertaining to Classical Hollywood and its ongoing relevance to cinema and media scholars today. I am inviting proposals for papers covering any of these issues as grounded by some of Stanwyck’s work in film or on television, or covering issues related to her work that I have not mentioned here. If interested, please contact me asap with your proposed topic.  Proposals (see conference guidelines for required length, etc) are due by July 29 and I will notify submitters on or before August 13. Steven Cohan
by S. Cohan
Thursday, July 4, 2019
Rendering Security: Moving Image Infrastructures and the Nation-State CFP Locked Topic 0 D. Ruiz (Panel CFP) Rendering Security: Moving Image Infrastructures and the Nation-State Since the interwar period when Soviet and US American superpowers first introduced the notions of self-determination and sovereignty of the nation-state onto the world stage, these twin concepts have been central to the conceptualization of “security.” The meaning of security, however, has been a shifting signifier in the decades since, operating at times as a justification for national fortification and at others as a basis for international cooperation -- most often it has operated in an entangled in-between of the two. In the Cold War era in particular, this shifting value of security took on ever more complex implications in light of anti-colonial struggles across Asia and Africa, the USSoviet arms race and its attendant proxy wars, and experiments in supranational organizations such as the United Nations or the Non-Aligned Movement. Nearly 30 years after the supposed end of the Cold War, these unstable meanings of security continue to inform border policies and the image infrastructures that make and unmake them.   Taking as a starting point the notion that media plays a constitutive infrastructural role in the perpetual reformulation of “security,” this panel seeks papers that explore how media, image technologies, and visual cultures have been or could be mobilized to critique and resist the consolidation and securitization of borders, and, reciprocally, to promote and render visible trans-border solidarity activities. We invite interdisciplinary perspectives on media representations of the border within legal, economic, and cultural frameworks, as well as the politics of media production and distribution within and across borders.   Possible topics may include: • Visions of the “international” and their function in ongoing constructions of the nation-state • Military research into visualizing/surveying borderlands, propaganda or activist campaigns • Visualizing migration policies and documentation (passport/visas/other IDs) through film festivals, narrative features, investigative/broadcast journalism, documentary, television, and early digital tracking • Relationship between various “posts,” including post-migratory, post-colonial, post-social, post-racial, post-modern, and so forth, and visual strategies related to their registration and intersection • Policies of moving image funding structures, from national cultural heritage industries, to NGO and UNESCO frameworks • Distribution strategies in state and commercial film markets • Generational issues related to imaging -- and imagining -- narratives of migration • Imagining borderless futures • Anti-colonial aesthetics and alternative models of ‘security’ • Gender and migration • Critical perspectives on nativist media campaigns • Media strategies of humanitarian, corporate, or government entities • ‘Bordering’ as a concept, performance, and methodology • Dialectical relations between securitization and mobility • Media and sovereignty   Please email an abstract (2500 characters), title, list of works cited (3-5 sources), and brief author bio (500 characters) to both Megan Hoetger ( and Diana Ruíz ( by August 22. All proposals will be responded to by August 26. Please email with any questions.
by D. Ruiz
Wednesday, July 3, 2019
CFP: Queer Slashers Locked Topic 0 P. Marra             Not all queers in cinema are killers and not all killers are queer. Yet the fervent success of the formulaic combination of the two speaks to a uniquely symbiotic entwinement. Early killer films highlighted effeminate, socially ostracized, or otherwise ‘strange’ men in killer roles. They also commonly cast queer actors in these roles, including Ivor Novello in The Lodger (1927), Laird Cregar in Hangover Square (1945), and, most famously, Anthony Perkins in Psycho (1960), to name just a few. The canonical slasher cycle of 1978-1985, popularly said to begin with Halloween (1978), has been described as one in which killers tend to display traits of feminine ‘otherness’ or become feminized across the run of the film. [1] These films have also been said to denature gender and push characters toward a post-gender identity. [2] In 2019, we are developing a distinctly queer canon of slashers filled with queer sex and self-identified queer characters – such as Stranger By the Lake (2013) and Knife + Heart (2018) – that altogether refigure the more implicit and queer-coded subtext of the canonical slasher cycle of the 70’s and 80’s and its earlier precursors.             In our current political moment, one in which progress for queer rights seems to have made great strides but queer people still face harsh and sometimes violent backlash, it feels more pertinent than ever to ask: What is queer about the slasher? Why has queer identity and sexuality been so historically tethered to this particular pattern of films? What did that mean for queer people before us and what does it mean to us now?             Topics may include but are not limited to: -Queer perspectives on classic slashers, modern slashers, or slasher precursors - Contemporary engagements with representations of trans and non-binary genders in films that depict gender non-normative killers - Historical arguments about the slasher’s intersection with queer rights issues and evolving cultural perspectives on queer identities - Ways that modern slashers redeploy classic slasher tropes from queer perspectives and/or with queer characters - Homonormativity and the ‘normative’ queer couple in the modern slasher - The role of POV and stalking in the slasher – then and now? - Thoughts on the roles of gender, sexuality, queerness, and normativity in determining characters death or survival in the slasher - Contemporary queer reclamations of the slasher in queer cinema and queer performance -Studies of queer-coded representations in classic slashers and slasher precursors -Thematic, stylistic, and historical connections between slasher movies and queer cinema All those interested, please submit a title, abstract (300-350 words), brief bio, and 3–5 bibliographic sources to Peter Marra at by August 5th. Decisions will be communicated by August 15th. Please also direct any questions to the e-mail above. [1] Carol J. Clover, Men, Women, and Chain Saws: Gender in the Modern Horror Film (Princeton, NJ: Princeton UP, 1992), 40; 186. [2] Jack Halberstam, Skin Shows: Gothic Horror and the Technology of Monsters (Durham: Duke UP, 1995), 141.
by P. Marra
Tuesday, July 2, 2019
CFP: Collaborative Storytelling & Alternative Authorship Locked Topic 0 T. Zuk “Collaborative Storytelling & Alternative Authorship” Collaborative storytelling is any type of shared construction of a narrative or fictional world. The shared construction can be between multiple authors, or between author and audience. It can be multi-modal or transmedial in nature with complex interwoven narratives and vast participatory worlds, or it can be a single medium with a simple decision-based mechanic (multiple choice, roll of the dice, etc.). We welcome submissions about recent additions to the collaborative storytelling scene that leverage social media, like Carmilla, Welcome to Night Vale, Bar Karma, Tiki Wiki Fici as well as legacy and revival objects such as Dungeons & Dragons (and other RPGs), “Choose Your Own Adventure” novels, and serial chain stories like Sorcery & Cecilia: The Enchanted Chocolate Pot by Wrede & Stevermer.  We seek to explore collaborative storytelling in its many mediums and forms, as active process, and in terms of “authorship” and industry. We encourage submissions that engage with collaborative storytelling from across disciplinary spectrums – from audience reception, narratology, as well as industrial and textual analyses. We’re particularly interested in looking at examples and practices of collaborative storytelling across historical and technological periods (analog and digital), or the evolution from one technology/medium to another.   Among the topics that might be examined: Uses of social media/transmedia as collaborative storytelling Participatory worlds or story world collaboration Exploring “Choose Your Own Adventure” Novels Role Playing Games (online and tabletop) The concept of “ownership” in collaborative storytelling Narrative issues in collaborative storytelling Evolution of chain stories (serial story collaboration) Collaborative storytelling as educational tool If you are interested in being considered for this panel, please send a 300-word summary of your proposed topic to Tanya Zuk of Georgia State University ( no later than July 30.        
by T. Zuk
Tuesday, July 2, 2019
Western Films and Tourism Panel Locked Topic 0 C. Taylor SCMS Conference Panel Call For Papers "Realism, Surrealism, and Materialism: The Promotional Duality of American Western Films."   With this year’s SCMS conference being hosted in Denver, we think it is a great opportunity to talk about the Western genre and its impact on local geographies and populations. Beginning with Buffalo Bill’s traveling Wild West Show, “the West” has been a largely imagined geography transported through space and time, and promoted to eager fans. Through live performances, novelizations, and, of course, motion pictures, there has been no shortage in representations of the West. The question is how these representations, especially motion pictures, affected the people and fans of the West. In what way(s) did the West become a tourist space as a result of its popularity onscreen? For example, how many movie fans made their way to Tombstone, Arizona in the early 1990s? To address this question and others related to the Western’s promotional capacity, we are proposing a panel for the upcoming conference.   Possible topics include, but are not limited to:             *Local production (location shooting)             *Local production companies             *Western theme parks             *Western museums             *Western star influence             * Historical characters and geographies             *Touring live performances             *Trailers, Advertisements, and Premieres   Email Chandler Taylor,, with any questions. Abstracts and bios should also be sent to Chandler no later than Wednesday, August 28, 2019. Our panel of two is currently looking for two more people to join us. If you are interested in serving as panel respondent, we are open to that as well.   Here’s a helpful website if you need some research ideas: 
by C. Taylor
Monday, July 1, 2019
Production Companies Locked Topic 0 L. Palmer Given the importance of production companies in forming new relations of power between organizations, producers, and various industry workers after the studio system, I am seeking to form a panel that highlights the production company as an object of study. I am particularly interested in papers that research production companies which have sought expressive, representational, and/or political goals outside of commercial conventions. While I am most interested in historical studies of production companies in relation to American and/or Hollywood cinema, broadly defined, this panel is also receptive of case studies outside these parameters, including recent histories, transmedia companies, and other national and transnational contexts.   Please submit a brief description of your paper topic to Landon Palmer at no later than August 1. I will contact you by August 2, and will ask chosen panelists to provide full proposals by August 15. Feel free to make informal inquiries at any time.
by L. Palmer
Wednesday, June 26, 2019
2020 CFP: East Asian Broadcast Media & Sound Studies Locked Topic 0 E. Shih I'm putting together a panel that's roughly organized around East Asian Broadcast Media and sound studies. I define "East Asia" quite loosely, and embrace transnational or comparative approaches.   My own paper will probably be about TV as a new media in the 1970s, and its presence as "noise" within the context of authoritarian cultural control (and in the sense that it spills out of apartments in dense urban areas). I have a colleague who is working on radio, and I'm open to various methodologies and types of broadcast media, including but not limited to streaming and podcasting, mobile devices, loudspeakers, social media, etc.    Please send me a few lines about your potential paper topic by July 15 for full consideration. Looking forward to seeing you all right in my neighborhood!   Evelyn Shih Assistant Professor of Chinese University of Colorado Boulder      
by E. Shih
Wednesday, June 26, 2019
CFP: Material Media Histories of Sexuality Locked Topic 0 D. Embree Hello all, Together with two colleagues, I am organizing a panel on Material Media Histories of Sexuality. We're using "material media history" expansively, as some of us seem to be approaching the topic from a traditional material history perspective whereas others are adopting more of a media archaeology approach.  If you're interested in joining us, please send me an email at by July 10th with a few sentences about your proposed paper. Best, Desirae Embree PhD Candidate and Graduate Teacher Texas A&M University
by D. Embree
Tuesday, June 25, 2019
Roundtable Topic: Media Scholars Who Are Parents Locked Topic 0 S. Ross “What the Hell Are They Doing in There?”: Simultaneously Navigating Parenthood and Media Scholarship   Penny Dreadfuls, comic books, radio serials, teen magazines, television, D&D, MTV, rap music, video games, the Internet, social media: since media has been made specifically for children, parents have been bombarded with warnings and guidelines about how to manage media’s role in their children’s everyday lives.  Each new format seems to trigger extensive studies and reports—often with conflicting information and advice for parents. While it is a truism that the more things change the more they stay the same, the 21st century availability of content across “devices” has brought an additional wrinkle.  Parents now contend with digital media across platforms, grappling not just with content but with how their kids are accessing that content and even creating their own.   SCMS’s own 2002 name change acknowledges the increasingly intertwined world of different forms of media, as well the growing number of scholars who study these—many of whom are parents.  This roundtable seeks to open a discussion among media scholar parents.  What issues face us as parents today in terms of our children’s media use?  How does being a media scholar filter our approach to our children’s use of media and vice versa?  As parents do we view media as an obstacle to “parent through?”  Are there ways in which media has helped us parent better or smarter?  Are media scholar parents who study in different domains speaking enough together about the incredibly wide range of media and devices that our children engage with?     We hope with this roundtable to begin a conversation that will continue past the conference, and encourage those interested in this topic to consider both broad areas of inquiry and issues more specific in scope.  Those interested in participating in this roundtable should reach out to Sharon Marie Ross and Kelly Kessler by July 31st at and Please provide the following:   *Name *Institutional Affiliation, company, or status of independent scholar  * 50-character topic title (placeholder at this stage is fine) *1500-2500-character abstract that highlights what you will speak to in 5 minutes; please add a minimum of 3 academic citations relevant to the topic. (Roundtable participants are expected to speak for no longer than 5 minutes apiece, with the goal of opening a conversation that is inclusive of audience members.)        Possible Topics include but are not limited to: --digital literacy --media literacy --the use of digital media in formal and informal education --the use of digital media in the arts --methodologies related to studying children and media/parents and media --philosophical, rhetorical, and theoretical frameworks for discussing children and media/parents and media --screen time recommendations --content issues, representational issues --safety and health issues --media/moral panics or technopanics --press and publications concerning children and media --TV programming, films, apps, and video games for children/teens --YouTube, Twitch, Snapchat, Instagram --range of devices/formats (smart phones, tablets, TV sets, etc.) --socio-historical context (e.g., Helicopter/Lawnmower/Free-Range parenting; socio-economic class, race and ethnicity, gender, sexual identification; religious, cultural and moral norms)
by S. Ross
Tuesday, June 25, 2019
Disability Studies and Narrative Cinema Locked Topic 0 J. Schaefer Society for Cinema and Media Studies April 1st-5th, 2020; Denver, CO We invite abstracts for papers that critically address the topic of disabled lives in cinema for a proposed SCMS panel, “Disability Studies and Narrative Cinema.” Disability Studies has been gaining momentum in the humanities since the 1990s. The field invites us to look at disability through a social model rather than--or in addition to--a medical model. While the latter proposes disability as an individual problem to be cured, the former asks: how does society construct the disabled person as such--and does the disabled person actually want or need a “cure”?  Much of the scholarship on disability in storytelling thus far has tended to focus on the representational politics of characters with apparent disabilities (e.g. the depiction of stereotypes, “inspiration porn,” disability as metaphor, casting). While these readings are welcome, this panel aims to bridge the discourse/experience binary (Herndl) by centering film analyses that connect disability or impairment to distinct histories, cultures, phenomenologies, epistemologies, and corporeal experiences, as well as film criticism that connects disability to other axes of power.  Following Anne Waldschmidt’s “cultural model of disability,” we view media as a supplement to a social model of disability as it “implies a fundamental change of epistemological perspective since it does not deal with the margin but rather with the ‘centre’ of society in culture” (25). As intersectional, transnational feminist film scholars, we seek to interevene in visual depictions of power, lived experience, and identity. Points of entry might include Rosemarie Garland-Thomson’s dynamic concept of “misfit”; Robert McRuer and Alison Kafer on Crip Theory; or Snyder and Mitchell’s notion of a “Eugenic Atlantic.” Topics of interest Film criticism, analysis or theory that engages with any of the following: Neurodiversity  Community formation and body/neurodiverse cultures Individual experiences of disability (e.g. phenomenology, materiality, corporeality) Madness Studies, Trauma Studies, Affect Theory The Medical Humanities Feminist Disability Studies, Cultural Disability Studies, Crip Theory  Critical Race Theory Postcolonial Studies Bibliography Garland-Thomson, Rosemarie. "Misfits: A Feminist Materialist Disability Concept." Hypatia, vol. 26, no. 3, 2011, pp. 591-609. Herndl, Diane P. "Disease Versus Disability: The Medical Humanities and Disability Studies.” PMLA, vol. 120, no. 2, 2005, pp. 593-598. Kafer, Alison. Feminist, Queer, Crip. Indiana University Press, 2013. McRuer, Robert. Crip Theory: Cultural Signs of Queerness and Disability. New York: NYU Press, 2006.  Snyder, Sharon L., and David T. Mitchell. Cultural Locations of Disability, University of Chicago Press, 2006.  Waldschmidt, Anne. “Disability Goes Cultural: The Cultural Model of Disability as an Analytical Tool.” Culture - Theory - Disability: Encounters between Disability Studies and Cultural Studies, edited by Waldschmidt, Anne, et al., Transcript Verlag, 2017, pp. 19-27. Guide for authors Please submit abstracts (less than 2500 characters), a bibliography of 3-5 sources, and a short author bio (less than 500 characters) as a single attachment to both panel organizers, Ashley Barry (ashley.barry[at] and Joy C. Schaefer (joy_schaefer[at], by Aug. 1. We will notify you of your acceptance status by Aug. 13.
by J. Schaefer
Tuesday, June 25, 2019
Comedy and Authenticity Locked Topic 0 C. Becker This proposed panel for the SCMS 2020 Denver conference organized by Stephanie Brown and Christine Becker will interrogate concepts of authenticity in the realm of comedy and explore how these concepts are activated in critical judgments and creative pursuits related to comedy. We seek not to determine what is and is not authentic in comedy but instead how discourses and ideological judgements of comedic authenticity work to legitimize (or delegitimize) comedic performers, texts, and fans. Further, we question what groups, what purposes, and to what ends concepts of authenticity are mobilized to serve. Paper topics could cover areas such as:    - authenticity and the comedic celebrity persona - standup comedy and performativity - the role of the audience in multi-cam sitcoms, debates about its authenticity and artificiality - the single-cam sitcom compared to the multi-cam on the basis of authenticity - Louis CK, both his series Louie and his “comeback,” judged on markers of authenticity - authenticity and race/gender/class in comedy - transnational differences in the application of authenticity discourse to comedy - historical perspectives on the development of authenticity as applied to humor and comedy  - the labor of authenticity in comedy industries - authenticity in the policing of comedic fandom - authenticity and sincerity in fan/comic relationships on social media  - authenticity in late night comedy / political satire  - authenticity in mental health discourses about comedy (particularly stand-up) - comedy podcasting and authenticity in sound studies  - the “PC” and “rape joke” debates and how “edginess” is conflated with “authenticity” - industry gatekeepers (bookers, agents, execs, critics) and the legitimating discourses of authenticity - the intersection of authenticity and morality in discussions of comedy If you are interested in being considered for this panel, please send a 150ish-word summary of your proposed topic to no later than July 30.
by C. Becker
Tuesday, June 25, 2019
Gender, Performance, and Technological Change Locked Topic 0 P. Woodstock We are organizing a panel on how technological change impacts gendered expectations of performance for the 2020 SCMS conference. In particular, we are interested in how the anxieties brought about by the emergence of new technologies and their changing commercial imperatives (i.e. TV in the 1950s/60s, social media and YouTube in the 2000s/10s) alter the dominant understandings and gendered expectations of performance and stardom  – especially in relation to authenticity, camp, and aging/nostalgia. Papers focusing on a broad variety of contexts are welcome, from late-Studio era Hollywood to contemporary social media influencers. If you have an interest in being part of this panel, email us with a brief (100-word) description of the topic you would like to present on by Wednesday July 10. If we receive enough interest, we will make our selections by Friday, July 19 and ask for full proposals by Friday, August 9.   Josie Torres Barth Teaching Assistant Professor of Film Studies North Carolina State University   Patrick Woodstock MA Student Concordia University
by P. Woodstock
Sunday, June 23, 2019
CFP: Expanded Environments Locked Topic 0 O. Chefranova p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 22.0px; font: 12.0px 'Times New Roman'; color: #000000; -webkit-text-stroke: #000000} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; line-height: 14.0px; font: 12.0px 'Times New Roman'; color: #000000; -webkit-text-stroke: #000000; background-color: #ffffff; min-height: 15.0px} p.p3 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 12.0px 'Times New Roman'; color: #000000; -webkit-text-stroke: #000000; background-color: #ffffff} p.p4 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 12.0px 'Times New Roman'; color: #000000; -webkit-text-stroke: #000000; background-color: #ffffff; min-height: 15.0px} p.p6 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px 'Times New Roman'; color: #000000; -webkit-text-stroke: #000000; background-color: #ffffff} li.li5 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 12.0px 'Times New Roman'; color: #000000; -webkit-text-stroke: #000000} span.s1 {font-kerning: none} span.s2 {font-kerning: none; background-color: #ffffff} span.s3 {font-kerning: none; background-color: transparent} span.s4 {text-decoration: underline ; font-kerning: none} ul.ul1 {list-style-type: disc} CFP:  Expanded Environments   Environment appears in the arts and humanities as a vastly broad term, informed by a comparative spirit and capable of embracing a multiplicity of manifestations, both built and natural. The two proposed panels under the rubric Expanded Environments are interested in rethinking environment as an expanded term, considering both the conceptual complexity of the notion and potential limits of its theoretical, historiographical, and aesthetic implications. Following the environmental turn in the humanities in the last two decades, film and media studies have responded to the ecological crises by publishing a range of monographs and essay collections that address the ecocritical perspective. But what do we mean when we discuss environment in film and media studies? Do we refer to filmic worlds and various combinations of cinema’s visual and auditory capacities that make these worlds possible? Do we mean built environments that come into existence during production and that vanish afterward? Do we speak about the material, social, and affective impact that making a film and other moving images have? Are environments invisible, as McLuhan noted? And what precisely is the relationship between the notion of the environment as we have been using it and the natural world? Approaching environment from different perspectives–the ecocritical view, environment as a network and system of relations, and environment in its constantly shifting relationship to moving image practices–the papers we would like to gather here will propose answers to these and other questions by rigorously engaging with a variety of moving images, from contemporary art cinema to non-fiction films to video installations.   We are especially interested in papers that explore, but not limited to, the following themes:  Theories of environment across film and media studies;  Dialogues between the environmental, infrastructural, and atmospheric turns; Environment, media, and science; Ecocinema and ecomedia revisited;   Environmental aesthetics in cinema;  Space, setting, mise-en-scène;  Simulated and augmented environments; Environment in artists’ moving images and gallery installations; Genres and environment; Soundscape and environment. Please submit a title, an abstract (max. 2500 characters), a bio (max. 500 characters), and 3–5 bibliographic sources to and by August 1. Do not hesitate to email if you have questions. Panelists will be notified by August 15.  
by O. Chefranova
Saturday, June 22, 2019
Girls' Media History Locked Topic 0 M. Kearney I'm thinking of organizing a panel on girls' media history for the 2020 SCMS conference.   If you're interested in being part of the panel, please email me with a brief (100-word) description of your paper topic by Wednesday, July 10.  This does not have to be a formal proposal -- just an indication of what you want to talk about.  I'm especially interested in papers that explore historical mediated girlhoods outside of white and/or Anglophone contexts, but I'm open to hearing from all who are interested.   If there's enough interest for the panel, final selections will be made by Friday, July 19, with final proposals due to me by Friday, August 9, to leave time for writing the panel proposal and any necessary paper proposal revisions.   Mary Celeste Kearney Director, Gender Studies Associate Professor, Film, Television, & Theatre University of Notre Dame
by M. Kearney
Monday, June 17, 2019

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