Saturday, January 18, 2025

CFP 2025 Cultural Studies Association (CSA) Annual Conference: Imaginary Futures: Utopias, Dystopias & Protopias of Cultural Studies (2/23/2025; Valencia, CA 5/29-31/2025)

 

2025 Cultural Studies Association (CSA) Annual Conference: Imaginary Futures: Utopias, Dystopias & Protopias of Cultural Studies

deadline for submissions: 
February 23, 2025
full name / name of organization: 
Cultural Studies Association

2025 Cultural Studies Association (CSA) Annual Conference: Imaginary Futures: Utopias, Dystopias & Protopias of Cultural Studies 
May 29 - 31, 2025
​California Institute of the Arts–Valencia, California
Deadline for Submissions: Sunday, February 23, 2025, 11:59 pm EST
Registration

​The Cultural Studies Association (CSA) invites proposals for participation in its twenty-third annual  meeting, which will be held, in person, at California Institute of the Arts  in the city of Valencia, California.  Proposals on all topics relevant to cultural studies will be considered, with priority given to those that engage this year's theme, Imaginary Futures: Utopias, Dystopias & Protopias of Cultural Studies.

How can we as cultural studies scholars make sense of different possibilities for the future, through both optimistic and pessimistic lenses, and the ways in which culture shapes those possibilities? And to what extent can theoretical imaginings structure praxis and make actual these potential futures? The keywords provided by this year’s theme offer some directions: While a utopia denotes a static state of cultural and political perfection—a society when it has become as good as it possibly can get—a dystopia can be defined as a space wherein people are stuck in a kind of recurring pattern of suffering. Alongside these more familiar framings, to what extent can cultural studies imagine a protopian world-in-becoming: a more carefully stated dream of transformation that involves not only making visible existing potentials, possibilities, and capacities, but also actualizing those mutually desirable potentials to reduce social harms and enhance human dignity?  

Through this year’s theme, we encourage submissions that explore the production and consumption of future imaginaries, and/or how future imaginaries intersect with lived material conditions, cultural practices, or other major discourses. In doing so, we embrace the call for a “futurist cultural studies” (Powers 2020), one that acknowledges both the possibilities for emancipatory progress, and the consequences of failure to achieve that progress. 
POSSIBLE TOPICS INCLUDE:

  • Another World is Possible? The Political Afterlives of Anti- and Alter-globalization
  • Utopian pasts/Dystopian futures
  • Dystopian pasts/Utopian futures
  • Queer utopias and hopeful failures
  • Experimental communities & applied utopias 
  • Manifestos and declarations
  • Postracial rhetorics and racist dreams
  • Afrofuturism, Sinofuturism, & identity-based futures
  • “Never again” & genocide’s eternal return
  • Decolonizing utopia
  • Climate futures: Narratives of hope & despair 
  • “The singularity” and other AI dystopias 
  • Pessimism/nihilism: negating the future
  • Portrayals of utopian, dystopian, protopian futures in popular media
  • The future of/in cultural studies

All proposals should be submitted through Easy Chair using the following link: 
https://easychair.org/conferences/?conf=csa2025

CONFERENCE FORMAT
This year, the annual Cultural Studies Association Conference will be held in person. While we acknowledge the limitations presented by in person sessions, we also maintain the importance of community, collegiality, and mutual support that in person conferences offer within professional organizations.To allow for both the benefits of an in-person conference and the expanded access of an online conference, the CSA plans to maintain an alternating, biennial structure of in-person conferences (on odd years) and online conferences (on even years). 

TRAVEL AND LODGING

Airports:
There are several easy ways to travel between local Southern California airports and the CalArts campus. In addition to ridesharing apps such as Lyft and Uber, there are direct shuttle services available through Prime Time Shuttle, 800-733-8267; and Super Shuttle, 800-258-3826. These shuttles service both Burbank Airport and Los Angeles International Airport and are available by reservation, seven days a week, 24 hours a day. The LAX Flyaway Service is a 24-hour bus service that operates between Los Angeles International Airport and LA Union Station, Van Nuys, Hollywood, and Westwood/UCLA. For LAX FlyAway locations, schedules, service hours, parking, passenger drop-off/pick-up, and driving directions, go to the LAX FlyAway web page or call 866-435-9529. The Van Nuys route, which is located the closest to CalArts, at approximately 16 miles, does not accept cash, only credit card or bank card payment.

Buses: Santa Clarita Transit services the Santa Clarita area, including Valencia, Newhall, Saugus, Canyon Country, and Sylmar. There are also express buses to the San Fernando Valley and into Los Angeles, with extra service during morning and afternoon rush hour service. For bus schedules, call 661-294-1287 or visit www.santaclaritatransit.com. MTA (Metro) services the greater Los Angeles area, and has routes throughout Los Angeles and the San Fernando Valley. Please note that MTA buses are accessed in the San Fernando Valley, either using the Santa Clarita Transit buses, the Metrolink train, or car to get there. For more information, call 800-COMMUTE (266-6883) or visit www.mta.net.

Hotels: Recommendations through CalArts can be viewed HERE. Be sure to ask if they have a “CalArts rate.”

SUBMISSION AND REGISTRATION

●    Friday, December 6, 2024: Submission System Open 
●    Friday, December 6 , 2024 until Friday, April 4, 2025:  Early Bird Registration
●    Sunday, February 23, 2025: Final Deadline for Submissions
●    Friday, March 7, 2025: Notifications sent out
●    Friday, April 4, 2025: Early Registration Ends, Regular Registration Rate Begins
●    Friday, May 9, 2025: Last day to register to participate in the conference. If you do not register by this date and are not a current member, your name will be dropped from the program.

REGISTRATION: In order to participate in the conference and be listed in the program, all those accepted to participate must register before Friday, May 9, 2025. Remember: registration for the conference and membership in the CSA are combined transactions. All proposals should be submitted through Easy Chair: https://easychair.org/conferences/?conf=csa2025
Make sure to create and/or log in to your Easy Chair account before you attempt to submit. Please prepare all the materials required to propose your session according to the given directions before you begin electronic submission. All program information--names, presentation titles, and institutional affiliations--will be based on initial conference submissions. Please avoid lengthy presentation and session titles, use normal capitalization and standard fonts, and include your name and affiliations as you would like them to appear on the conference program schedule.

INSTITUTIONAL MEMBERSHIPS include individual memberships for up to seven affiliate faculty, staff and students at member institutions. Graduate students who wish to submit proposals are strongly encouraged to speak with their Department Chair or Program Director about institutional membership and where possible, make use of the complimentary individual memberships and reduced registration rates. Full benefits of institutional membership see: http://www.culturalstudiesassociation.org/institutions.

SUBMISSION FORMATS: 
All sessions are 90 minutes long. All conference formats are intended to encourage the presentation and discussion of projects at different stages of development and to foster intellectual exchange and collaboration. Please feel free to adapt the suggested formats or propose others in order to suit your session’s goals. 

The CSA aims to provide multiple and diverse spaces for the cross-pollination of art, activism, pedagogy, design, and research by bringing together participants from a variety of positions inside and outside the university. While we welcome traditional academic papers and panels, we also encourage contributions that experiment with alternative formats and intervene in the traditional disciplinary formations and exclusionary conceptions and practices of the academic. We are particularly interested in proposals for sessions designed to document and advance existing forms of collective action or catalyze new collaborations. We encourage submissions from individuals working beyond the boundaries of the university: artists, activists, educators, independent scholars, professionals, and community organizers.

Further information regarding various session formats can be found below. If you have any questions, please address them to Michelle Fehsenfeld at: admin@culturalstudiesassociation.org 

  • WORKING GROUP SESSIONS: CSA has a number of ongoing working groups. Working Group submissions can either be an individual paper or pre-constituted panel and must be made through CSA’s online EasyChair submission portal. Choose either the Working Group Panel or Working Group Paper tracks, complete the submission information, and choose the appropriate working group from the drop-down menu at the bottom of the page. For more information see: https://www.culturalstudiesassociation.org/working-groups.html
  • PRE-CONSTITUTED PAPER PANELS: Pre-constituted panels allow 3-4 individuals to offer 15-20 minute presentations, leaving 30-45 minutes of the session for discussion. Panels should have a chair/moderator and may have a discussant. Proposals must include a description of the panel's topic (<500 words); and abstracts for each presentation (<150 words). 
  • INDIVIDUAL PAPERS: Individuals may submit a proposal to present a 15-20 minute paper. Selected papers will be combined into panels at the discretion of the Program Committee. Submissions must include an abstract of the paper (<500 words).
  • ROUNDTABLES: Roundtables allow a group of participants to convene with the goal of generating discussion around a shared concern. In contrast to panels, roundtables typically involve shorter position or dialogue statements (5-10 minutes) in response to questions distributed in advance by the organizer. The majority of roundtable sessions should be devoted to discussion. Proposals for roundtables must include a description of the position statements, questions, or debates that will be under discussion (<500 words).
  • PRAXIS SESSIONS: Praxis sessions allow a facilitator or facilitating team to set an agenda, pose opening questions, and/or organize hands-on participant activities, collaborations, or skill-shares. Successful praxis sessions will be organized around a specific objective, productively engage a cultural studies audience, and orient itself towards participants with minimal knowledge of the subject matter. Sessions organized around the development of ongoing creative, artistic, and activist projects are highly encouraged. Proposals for praxis sessions must include a brief statement explaining the session’s connection to the conference theme and describing the activities to be undertaken (<500 words) and a short description of the session (<150 words) to appear in the conference program. 
  • MEET THE AUTHOR: Meet the Author Sessions are designed to bring authors of recent books deemed to be important contributions to the field of cultural studies together with discussants selected to provide different viewpoints. Books published one to three years before the conference are eligible for nomination. Only CSA members may submit nominations. Self-nominations are not accepted.
  • MAKE(R) SPACE: The Make(r) Space is a space for the collaborative and praxis driven portions of Cultural Studies – making space for art, making space for political activism, making space for new modes of knowledge exchange. It is our goal that this space will be created for those that have been historically and systemically left out of these conversations: artists, activists, poets, and other cultural critics and makers. We want to create a space that helps the CSA fulfill some of the implicit praxis portion of its goals to “create and promote an effective community of cultural studies practitioners and scholars.” Building on the poets, dancers, painters, and activists already interested in the space, we welcome proposals for exhibits, performances, workshops, skill shares, story telling, and other ways of meaning-making and art-making in the world that consider the theme of “Imaginary Futures” We especially encourage Make(r) Space submissions from individuals working beyond the boundaries of the university: artists, activists, independent scholars, professionals, community organizers, contingent faculty, and community college educators. Please email Make(r)Space submissions by February 23, 2025 to: admin@culturalstudiesassociation.org
  • LATERAL WORKSHOP: Lateral, the journal of the Cultural Studies Association, invites submissions of emerging work for constructive feedback with the Lateral editors at the Cultural Studies Association 2025 Conference. If you are interested in being considered for the workshop merely check “yes” when prompted to do so in Easychair and, if accepted to the conference, you will also automatically be considered for the workshop. We especially invite participation from junior scholars, graduate students, and those working beyond the bounds of the university, as well as those who intend to eventually submit their work to Lateral (workshop papers that are later submitted to the journal will undergo regular editorial and peer review). Those interested in participating will be notified of their acceptance into the workshop in March, and complete drafts of articles (approximately 4,000–9,000 words in length) will be due two weeks before the conference. Strong submissions will situate their considerations of cultural practices, critical theories, and/or pedagogies within established and emerging conversations in cultural studies. Prospective workshop participants should submit abstracts (no more than 500 words) or draft articles through the submission system by the deadline for submissions.

CFP AppleTV+ and Science Fiction (3/31/2025; Spec Issue SFFTV)

 

Special Issue: AppleTV+ and Science Fiction

deadline for submissions: 
March 31, 2025
full name / name of organization: 
Science Fiction Film and Television

Special Issue: AppleTV+ and Science Fiction 

Guest Editors: Burcu Kuheylan, Milt Moise, Nicholas Orlando

contact email: projectscifi.appletv@gmail.com

 

In this special issue of the journal, editors seek scholarly articles that contextualize and critique AppleTV+ and its production of science fiction television against the tumultuous Zeitgeist of post-2016.   

The unprecedented popularity of streaming platforms has transformed the playing field, as well as the rules, of the entertainment business. It is nevertheless rare for a streaming service to aggressively invest in one particular genre as AppleTV+ has done with science fiction. Some platforms with vast repertoires, like Netflix and Amazon Prime Video, sample an array of genres and narrative modes – including science fiction, action, stand-up comedy, and reality shows – without privileging quality or diverging from mainstream tastes. While Netflix operates independently of older media conglomerates, Amazon and others like Max and Hulu harness their links with “legacy” media giants, like Metro-Goldwyn-Myer; HBO and Warner Bros.; and Disney, FX, and Fox Searchlight respectively.

New to the scene is AppleTV+, which launched in 2019 and has since offered an alternative model to content production. AppleTV+'s branding and production strategies consist in offering original titles that feature A-list actors and directors while displaying a preference for the high-quality, technically proficient content that cultural commentators often associate with prestige TV. More central to this special issue, however, is the company’s investment in science-fictional media. Series such as Dark Matter (2024), Constellation (2024), and Silo (2023) are only the company’s three latest entries into a growing collection of titles including For All Mankind (2019) and Severance (2022). While AppleTV+ is not the only streaming platform fueling the popularization of science fiction on screen, TV critics and cultural commentators alike seem to agree that AppleTV+ is television’s new “sci-fi Valhalla” (Speicher, “AppleTV+ Has Become”).

This special issue accordingly invites critics to explore Apple’s investments – financial and otherwise – in science fiction. A powerhouse of consumer technologies, Apple has long drawn inspiration from the imaginaries of science fiction, not least in its marketing campaigns, which include iconic Super Bowl commercials directed by Ridley Scott (“1984”) and Mark Coppos (“Hall”); iPhone advertisements by David Fincher (“Hallway”; “Break In”); and the now-controversial “Crush” ad by Gal Muggia and Vania Heymann. In each case, the genre’s technological imaginaries were central to Apple’s marketing of its cutting-edge products, and they have since helped the brand hone its distinctive futuristic look and minimalist style. 

AppleTV+’s singular emphasis on science fiction as its privileged genre of production could also reflect the company’s larger business strategies for product management and development. Under its current CEO, Tim Cook, Apple has maintained Steve Jobs’ hallmark emphases on streamlined production and paternalistic oversight. Not only does the company commit to practices of austerity and lean production models to limit the number both of original films and TV shows/episodes produced, it also reportedly supervises and “meddles'' in content production, sometimes to the chagrin of seasoned producers and directors (Goldberg and Fienberg, “Ron Moore is Ready”; Szalay, “iPhone TV”). Cook’s avoidance of controversial subjects like religion, nudity, violence, China, or negative representations of technology – or of Apple, more specifically – similarly exemplifies his tight control of the brand’s image (Mayo, “Tim Cook Reportedly”; Smith, “Apple TV”; Rosen, “Rian Johnson”; Kent, “The Problem with Canceling Jon Stewart”). Under such circumstances, the high premium AppleTV+ has placed on science fiction, how the genre informs Apple’s public image, marketing strategies, and future enterprises elicits closer scrutiny from scholarly readers and researchers of the genre. 

Equally important for scholars to investigate is how Apple influences the public perception of science fiction as it cherry-picks the genre’s aesthetic and narrative tropes primarily to serve its corporate interests. The privilege such a giant of consumer technologies accords to science fiction indubitably raises the profile and visibility of this historically marginalized genre. This represents a chance for science fiction to publicize its radically different – and potentially subversive – imaginaries of what is possible, which endears the genre to its well-versed enthusiasts. In prioritizing corporate profit, however, Apple also exploits the genre’s futuristic style, aesthetic values, and cultural associations for branding purposes. Can the science fiction it sponsors effectively scrutinize, let alone dismantle, the deeper structures of inequality that the company also perpetuates beyond a fashionable lip service to pluralism, diversity, and globalism? How can we read Apple’s self-fashioning through science fiction in light of, say, its manufacturing partnerships with off-shore sweatshops like the Chinese Foxconn or its failure to provide its content writers a home with proper work conditions, job security, and equitable compensation (Albergotti, “Apple Accused”; Fuster, “#BadApple”)? Given Apple's record of complicity in resource extraction, labor exploitation, and union-busting politics, this issue invites contributors not simply to affirm but to critique the Apple brand’s sci-fi output against the contentious political, economic, and socio-cultural dynamics of the contemporary. 

Such critique has increased urgency as Apple launched its streaming platform and focus on science fiction in a moment of social and political instability in the U.S. and around the globe. Our contemporary moment reflects what Lauren Berlant has dubbed “crisis ordinariness” (Cruel Optimism), which not only overwhelms our perceptive capacities but also defies the conventional limits of the real – the global rise of right-wing politics with a flagrant disregard for objectivity, facts, or truth; concomitant assaults on women’s reproductive rights and equal opportunity initiatives that helped promote racial justice; the rising number of havocs wreaked by climate-change-caused natural disasters; the wars in Ukraine and the Middle East; the mass migration of people fleeing wars, violence, famine, or political persecution; and the attacks against the LGBTQ+ community are only a few examples. Against this state of crisis ordinariness, how can we read Apple as an agent in the (re)production of convergent worlds of aesthetics, economics, and politics? What do Apple’s images of futurity and history do for viewers at a moment of impasse? What kinds of social and political imaginaries does Apple open up and/or disavow? And how can we read these imaginaries against the neoliberal capitalist logics they mediate? 

Some possible topics may include AppleTV+ in relation to:

  • Generic developments/trends in science fiction (TV);
  • Science fiction in the post-truth political moment;
  • Streaming TV and Media (adaptation, mediation, and/or immediacy);
  • Writing sci-fi in the age of globalization, corporate profit, and labor precarity; 
  • Shifts in social class, labor organization, and worker solidarity; 
  • The aesthetics of political economy (venture capital; "stealth wealth");
  • The cult and operational logic of disruption (& the rise of AI);
  • The history/trajectory of the Apple brand, television, and marketing;
  • The potential and limits of futurism and techno-solutionism;
  • Nostalgia – (esp. in the context of the MAGA movement's backlashes against women, minorities, LGBTQ+ people, and immigrants); 
  • Politics, economics, and social (re)production of science-fiction aesthetics;
  • Representations of work/anti-work movements and politics;
  • Crises -- aesthetic, reproductive, climate, economic, care work, immigration, political, and leadership; 
  • Science fictional representations of futurity (Utopian & Dystopian).

Abstracts of no more than 500 words will be due by March 31, 2025. Acceptance notifications will be sent out by May 30, 2025 with complete drafts of 5,000-7,500 words due by November 28, 2025.

Please submit abstracts and questions to projectscifi.appletv@gmail.com.

CFP Routledge Handbook of Doctor Who (1/24/2025)

 

Routledge Handbook of Doctor Who

deadline for submissions: 
January 24, 2025
full name / name of organization: 
University of Southern Queensland

Contributions of 4000 words are invited for the forthcoming Routledge Handbook of Doctor Who. Under contract with Routledge and edited by Catriona Mills, Russell Sandberg and Marcus Harmes, this large-scale Handbook will be a generational work encompassing all aspects of the global phenomenon Doctor Who. The purpose of the work is to further academic research and the interdisciplinary approach that fuses the exploration of the official and the fan made.

 

The below table of contents indicates which chapters still require contributors. Please also review the notes below on what the overall focus of each section will be and tailor your abstract to this focus.

 

Please submit a 150 word abstract by January 24th 2025outlining what your proposed chapter would focus on. The editors will be interested in chapters which address the nominated area in novel ways.

 

The full chapter will be due by December 16th 2025.

 

Send to marcus.harmes@usq.edu.auc.mills@uq.edu.au and SandbergR@cardiff.ac.uk

 

Part I: The Television Show

                   

  1. Beginnings and Transformations (Lambert and her black and white successors)- Unavailable
  2. Navigating the 1970s (Letts) - Unavailable
  3. Triumphs and Tragedies (Hinchcliffe, Williams) - Unavailable
  4. Navigating the 1980s (JNT) - Unavailable
  5. False Hopes and Restarts - Unavailable
  6. Triumph of the Timelord (RTD) - Unavailable
  7. Too clever for its own good? (Moffat ) - Available
  8. Contested Progress (Chibnall) - Available
  9. RTD Redux - Available

 

Part II: Expanding Doctor Who Fictional Universes

 

  1. The Peter Cushing Films - Available
  2. K9and Company, the Sarah Jane Adventures and the Australian K9 - Unavailable
  3. Torchwood and Class - Available
  4. The War Between the Land and the Sea - Unavailable
  5. Fragments and Experiments: Short Episodes, Webcasts, Animations and AI - Available
  6. BBC and Big Finish Audio Productions - Available
  7. Interactive Experiences: Stage plays, Exhibitions, Conventions and Cosplay - Unavailable
  8. Gaming: Escape Rooms and Computer Games - Available
  9. Annuals and Comics- Unavailable
  10. The Target Range - Unavailable
  11. Novels for Children - Available
  12. Novels for Adults - Unavailable
  13. Fan Fiction and Fan Films - Unavailable
  14. Parodies – Unavailable
  15. Merchandise - Unavailable

 

Part III: The Literatures on and about Doctor Who

 

  1. Behind the Scenes Extras (including Doctor Who: ConfidentialTotally Doctor Who and Doctor Who: Unleashed and DVD / Blu Ray extras content) - Unavailable
  2. Doctor Who Magazine and fanzines – Available
  3. Podcasts – Available
  4. Reference Works and Guides - Available

 

Part IV: Production Practices

 

  1. Special Effects from Practical to Digital - Available
  2. Costumes - Unavailable
  3. Art and Set Design - Unavailable
  4. Sound Design and Music- Available
  5. Archival Survival and Global Audiences - Available

 

Part V: Themes

 

  1. Social Class – Available
  2. Gender / Feminism - Available
  3. Race - Available
  4. Queerness - Available
  5. Disability – Available
  6. Ageing– Available
  7. Non-human, post-human, and monsters – Available
  8. Environmentalism and Ecology – Unavailable
  9. Law and Order - Unavailable
  10. History and the Past - Unavailable
  11. Philosophy and Economics – Available
  12. Colonialism and Empire - Unavailable
  13. Education and Pedagogy - Unavailable
  14. War and Conflict – Available
  15. Religion and Spirituality – Unavailable
  16. Science and Technology – Unavailable
  17. Language and Communication - Unavailable

 

Part I: The Television Show

Section focus: Each chapter should engage with an overarching and unifying set of issues which are:

  • Overview of the era: the casting of the lead actor/s, the production team priorities
  • Critical and academic interpretations of the era showing the complete era as a major media text in its own right
  • The intersections between the era and its cultural and social historical context
  • The most critical points of significance about each era
  • And will highlight one serial/story/episode which exemplified the era

 

Part II: Expanding Doctor Who Fictional Universes

Section focus: The next section on the wider universe acknowledges and interprets the multiplying media texts which build on and exist beyond the strict BBC television canon of the series explored in the first chapters. Each chapter will be tightly focused and the section overall will traverse a range of genres and outputs. Chapters in this section will also:

  • Focus upon the production history
  • The relevant academic literature
  • The social and cultural context of the works
  • And will highlight one particular serial/story/episode/sequence to serve as an exemplar.

 

Part III: The Literatures on and about Doctor Who

Section focus: The third part examines the way the entire franchise both its canonical BBC incarnation and its expanded universe have become the subject of both academic discourse but other types of meta-textual commentary and extrapolation.  Chapters in this section will be intersecting with broader issues of the growth of fan communities and activities and the creative intentions of the creators of different types of literatures.

  • The section will demonstrate ways Doctor Who has not only followed but has led trends in merchandising television and popular culture and how emergent technologies from VHS to DVD and Blu-ray have enabled the expansion of what constitutes television merchandise, from just episodes to even merchandising production paperwork. Chapters in this section will also:
  • Focus on the historical development of the work
  • The relevant academic literature, the social and cultural context of the work
  • And will suggest an exemplar work.

 

Part IV: Production Practices

Section focus: The fourth section is more practically oriented on the making of the classic and revised series and each tightly focused chapter will showcase the way resources, creativity and imagination have shaped what has appeared or been heard on screen and how these have inspired in turn fans’ imaginations.

  • As Doctor Who is also only partly archivally intact, the section will also consider the significance of the programme in wider understanding of television heritage, the global dissemination of BBC drama, and the preservation and use of archives.

 

Part V: Themes

Finally this section opens up a wide thematic canvas with the chapters exploring the issues raised by the chosen theme. Both classic and new Who must feature and contributors are also welcome to include wider works as per section II.

 

CFP TV Matters Book Series (12/31/2025)

 

Call for Proposals: TV Matters

deadline for submissions: 
December 31, 2025
full name / name of organization: 
Intellect Books

Apologies for crossposting.

Call for Proposals: TV Matters

Editor: Sabrina Mittermeier

View the full call here>>

https://www.intellectbooks.com/tv-matters

TV Matters is a new series of short monographs (40,000 to 50,000 words) on television series, analysing their production history, cultural context, main themes, as well as fandom and audience reception. The focus is on shows that both have critical acclaim (as reflected by awards, media reviews), but more importantly, are genuinely 'popular'. That means they have had a robust viewership and ideally an active fandom (watercooler discussions on- and offline, as well as fan production such as fic, art, vids etc.) and/or an unusual reception history (cases of bans, censorship or similar).

As the intended audience for this book series extends beyond academia, we expect an engaging/accessible writing style. This however does not mean less academic 'rigour' – authors should thoroughly research production history (incl. where possible through interviews with creators or archival research), include a solid textual analysis of main themes and should show familiarity with concepts and theories of fan and audience studies.

The aim of this book series is to engage with TV shows that were and are truly popular rather than just part of a canon of 'quality TV' or 'cult TV'. The scope includes scripted/fictional programming, both live action as well as animation, but also reality TV, casting shows and documentary formats, if they fill the criteria. If it mattered to people, it qualifies!

This crucially also means shows outside of a Eurocentric lens of media production – K-Drama, Telenovelas, any popular TV in its respective cultural contexts, but also productions that crossed border lines and were adapted transnationally. In case of particularly long-running shows such as soaps or procedurals, or non-scripted content, ongoing series are also open to consideration.

To illustrate examples, series that tentative authors have already been approached about include Bridgerton (2020–), Game of Thrones (2011–2019), Ted Lasso (2020–2023), Ducktales (1987–1990), Star Trek: Voyager (1995–2001) and the Eurovision Song Contest.

At this point, we are open to any proposals on series meeting the criteria, but are especially looking for someone interested in writing on Supernatural (2005–2020), Friends (1994–2004), Buffy the Vampire Slayer (1997–2003), Grey’s Anatomy (2005–), Doctor Who (1963–), the CSI, NCIS, Law & Order franchises or long-running reality TV and transnational competition formats such as Survivor, Big Brother or Strictly Come Dancing. If this sounds like you please approach us!

As a first step, just send a short (!) pitch (500 words max), including what series you’d want to write on and why you think it matters, to the series editor Sabrina Mittermeier (Sabrina.Mittermeier@uni-kassel.de). If deemed a good fit, we move on to a more formal proposal. We expect the series to launch in 2026.

CFP The Green Fuse - Nature in Fantasy (2/28/2025; Spec Issue British Fantasy Society Journal)

 

The Green Fuse - Nature in Fantasy

deadline for submissions: 
February 28, 2025
full name / name of organization: 
Dr Kevan Manwaring/British Fantasy Society
contact email: 


In this special issue we will look at environmental aspects of Fantasy. Since its very earliest manifestations, in taproot texts such as the Epic of Gilgamesh, Beowulf, and Sir Gawain and the Green Knight, Fantasy has been entangled with the natural and supernatural world.

‘The force that through the green fuse drives the flower.’
Dylan Thomas

Modern classics of Fantasy such as The Lord of the Rings, The Lion, The Witch, and the Wardrobe, The Book of Earthsea, Mythago Wood, The Broken Earth Trilogy, The Tide Child Trilogy, and others foreground the ‘natural world’ (even if that is in a Secondary World setting), and have environmental aspects that are intrinsic to the plot: the destruction of the forests of Isengard and the March of the Ents; the perpetual winter of Narnia; the shattered land of The Silence; the remnant of ancient woodland of Ryhope Wood; the toxic wastelands of Viriconium, etc. We shall delve into the rich biodiversity of the imagination and examine the symbiotic relationship between the natural world and the creation of Fantasy.

Subjects that could be explored include:
• Changing representations of nature in Fantasy.
• Fantasy and the Anthropocene.
• The super/natural mythscapes of childhood.
• Neo-animism, sentient nature, and the sense of the sacred in Fantasy.
• Indigenous perspectives of our relationship to the natural world as depicted in Fantasy.
• Anthropomorphic nature in Fantasy.
• The flora and fauna of Fantasy.
• The natural landscapes of Fantasy.
• Environmentalism in Fantasy.
• Fantasy sites (real world sites that have inspired Fantasy classics) and the production of Fantasy.
• The enchantment, disenchantment, and re-enchantment of nature through Fantasy.

Also invited are scholarly reviews of contemporary (or classic) Fantasy in novels, TV, film, graphic novels, computer games, etc. Original, human-produced artwork will also be considered.

Submissions should be clearly titled as follows: SURNAME_TITLE_BFSJOURNAL_CFP FEB 25

A 200-word abstract and 100-word author bio should be included. Work needs to be original, previously unpublished, and referenced using the Harvard author/date system. The editor retains the right to edit any submission, and contributors must be willing to address any editorial suggestions within good time. Publication is expected Summer 2025. Send to The Editor: bfsjournal@britishfantasysociety.org

For full submission guidelines please refer to checklist on BFS site.

Deadline for submissions: 28th February 2025

CFP Before, After and Beyond: Prequels and Sequels in Literature, Arts and Culture (1/31/2025)

 

Call for Papers: ‘Before, After and Beyond: Prequels and Sequels in Literature, Arts and Culture’

deadline for submissions: 
January 31, 2025
full name / name of organization: 
Journal of Adaptation in Film & Performance

Call for Papers: ‘Before, After and Beyond: Prequels and Sequels in Literature, Arts and Culture’

A Special Issue of Journal of Adaptation in Film & Performance

View the full call here>>

https://www.intellectbooks.com/journal-of-adaptation-in-film-performance#call-for-papers

Edited by Annamária Fábián and Márta Minier

Proposals for scholarly articles, practitioners’ perspective essays and practitioner interviews are warmly invited for the upcoming special issue of the Journal of Adaptation in Film & Performance. This thematic issue will address adapting and recreating various forms of text into various modes of media through enhancing or challenging the concept of temporal and spatial continuity, i.e. through prequels and sequels.

Adaptation theory has historically tended to exclude prequels and sequels from its scope; they were treated as marginal or at least separate from ‘regular’ adaptations  mainly because, as Linda Hutcheon (2006) pinpoints, building on Marjorie Garber (2003), “[t]here is a difference between never wanting a story to end […] and wanting to retell the same story over and over in different ways”. Yet, it has become apparent that prequels and sequels are here to stay, and they indeed seem to have a unique potential in retelling and reinterpreting stories as well as repositioning them in a new temporal and/or spatial framework. Whether it is the recontextualization of canonical/classical cultural content in (re)defined temporalities or the ever-renewing waves of complex storyverses through multiple, never-ending blockbuster series and spinoffs on various streaming platforms, digging for those new beginnings and not wanting a story to end seem to impress with unprecedented popularity and a potential to provide yet more layers to telling the same stories over and over again.

We welcome abstracts of cca 300 words accompanied by a biographical note and resonating with one or more of the following:

  • the story as continuum

  • various works begun and continued in multimedial forms

  • the challenges of beginning and ending narratives

  • the theory of preceding and following 

  • temporal and spatial repositioning/reframing of various narratives

  • classics reframed

  • perspectives on transmedia universes; storyverses

  • backstories and spinoffs

  • typologies and theories of prequels and sequels

  • prequels, sequels and hypertextuality

  • history and storylines challenged and disrupted

  • prequels and sequels and/as anachronisms

  • convergence cultures as platform of prequels and sequels

  • prequels and sequels in the context of paratextuality

Authors are encouraged to submit their latest research findings (traditional research articles, practitioners’ perspectives contributions and interview-articles) aligned with the topics listed above – the list is to serve as a guideline and food for thought only. We welcome topics embracing other ideas connected to prequels and sequels in any media and in any artform in the most general sense.

Important Dates:

Deadline for submitting abstracts: 31 January 2025

Notification of acceptance: 15 February 2025

Deadline for submitting papers: 2 June 2025

Double-blind peer-reviewing process over summer 2025

Abstracts should be sent to both the editors:

fabian.annamaria@btk.elte.hu and marta.minier@southwales.ac.uk

In the subject line, please write “prequel_sequel_special_issue_Name_Title”

If you have any questions regarding the issue, please don’t hesitate to contact the editors.

CFP The Magic Kingdom: Exploring Disney’s Impact on Popular Culture (6/30/2025; online 9/4-5-2025)


The Magic Kingdom: Exploring Disney’s Impact on Popular Culture

deadline for submissions: 
June 30, 2025
full name / name of organization: 
PopCRN - The Popular Culture Research Network

PopCRN (the Popular Culture Network) is back with a virtual conference exploring all things Disney, to be held online on Thursday 4th and Friday 5th of September 2025.

Since the Walt Disney was founded his eponymous film studio in 1923, the Disney brand has been a mainstay of popular entertainment. The iconic Micky and Minnie Mouse head the line-up of an impressive array of characters and actors that have become cultural icons. Today Disney is a conglomerate of entertainment businesses, investing in theme parks, sports television, a cruise line, resort destinations, National Geographic Expeditions, clothing, games, and publishing.

We welcome papers from researchers across the academic spectrum and encourage papers from postgraduate researchers and early career researchers. Presenters will be given the opportunity to submit their presentations as articles to a special edition of the International Journal of Disney Studies.

To whet your appetite, we have provided some topics below. We will also accept topics beyond this scope:

  • "Today is a good day to try" – Optimism in Disney.
  • "Some people are worth melting for" – Friendship in Disney.
  • "Can anybody be happy if they aren’t free?" – The philosophy of Disney.
  • "Remember who you are" – Identity and meaning in Disney.
  • "Ohana means family. Family means nobody gets left behind or forgotten” – The importance of family in Disney.
  • "When I look at you, I can feel it. And I, I look at you and…I'm home" – Domesticity in Disney
  • "Life's a little bit messy. We all make mistakes. No matter what type of animal you are, change starts with you" – Representations of animals in Disney
  • "If you're going hard enough left, you'll find yourself turning right" – Ideology in Disney
  • "Everything is possible. Even the impossible" – Disney’s technological breakthroughs.
  • "Whatever choice you make, let it come from your heart" – Love in the Disneyworld.
  • "Ladies do not start fights, but they can finish them" – Representations of gender in Disney.
  • "If you're going hard enough left, you'll find yourself turning right" – Disney and the political sphere.
  • "You're mad. Bonkers. Off your head. But I'll tell you a secret, all the best people are"- Disney and classical literature.
  • "The problem is not the problem. The problem is your attitude about the problem. Do you understand?" – Positivity in Disney.
  • "Can anybody be happy if they aren’t free?" – Philosophy and Disney
  • "Being young and beautiful is not a crime, you know" – The princess / evil stepmother dichotomy in Disney.
  • "A queen is never late. Everyone else is simply early" – Depictions of royalty in Disney
  • "All it takes is faith and trust" – Religion and Disney
  • "I don’t see how a world that makes such wonderful things could be bad" – The dark side of Disney.
  • "Everybody’s got problems. The world is full of problems” – Global politics and Disney.
  • “Why are you threatened by anyone different than you?" – Disney and diversity.
  • “In every job that must be done, there is an element of fun. Find the fun aaaaaaaand, snap! The job’s a game!” Representations of work and labour in Disney
  • “Just keep swimming…just keep swimming” – From cruises to hotels; Disney in the Leisuresphere.
  • “You’re never too old for a Disney Movies” – Disney Fandom
  • "Hakuna Matata" – The music of Disney
  • “To infinity, and beyond!” – The eternal success of Disney.

Please submit via our portal - https://unesurveys.au1.qualtrics.com/jfe/form/SV_8jjzaWnS732QsFE

  • Abstracts (200 words)
  • Biography (100 words)

To submit to the journal: https://unesurveys.au1.qualtrics.com/jfe/form/SV_1FBqwXuomrgKKx0

To register for the conference, Registration is free for everyone: https://unesurveys.au1.qualtrics.com/jfe/form/SV_7TGWUYZidtlxVLU

Queries to popcrn@une.edu.au

CFP One Short Day: An Online Symposium Celebrating Wicked (5/1/2025; Online 6/27/2025)

 

One Short Day: An Online Symposium Celebrating Wicked

deadline for submissions: 
May 30, 2025
full name / name of organization: 
Noah Gallego and Layal Dahi

One Short Day: An Online Symposium Celebrating Wicked

 

Deadline: May 30, 2025

Conference Date: June 27, 2025

Format: Online (via Zoom, Pacific Time)

Abstract: 150 words + 50 word biographical statement + Time Zone

Submit to: Noah Gallego @noahrgallego@gmail.com 

Organizers: Noah Gallego, California State Polytechnic University, Pomona & Layal Dahi, California State Polytechnic University 

 

"Every day is a great crisis for our society. ... We stand at a crossroads. Idolatry looms. Traditional values in jeopardy. Truth under siege and virtue abandoned" (Maguire 9).

In the spirit of the recent release of the long awaited cinematic adaptation of Gregory Maguire’s revisionist novel, Wicked: The Life and Times of the Wicked Witch of the West (1995), as well as timely political upheaval, this free online symposium invites scholars from all backgrounds and disciplines to contribute to this spellbinding gathering and critically engage with the novel and its theatrical and cinematic iterations. 

2025 will not only celebrate the release of the second installment of Jon M. Chu’s film adaptation but also the 30th anniversary of the release of Maguire’s novel as well as the 125th anniversary of the original source material: L. Frank Baum’s novel, The Wizard of Oz (1900). 

Emerging at the dawn of a new political administration that has provoked anxieties apropos of the story’s themes of fascism, propaganda, and terrorism, critical discourse on Wicked is necessary now more than ever. The work is a true testament to the subversive power of art and its potential to respond to the political climate. As Rebecca Onion wrote for The American ExperienceWicked is “an extended meditation on power and politics.” While the musical admittedly sanitizes some of the more grotesque images and subversive messages, as it experiences its renaissance at this consequential juncture, these themes deserve to be probed more critically. 

Interested parties are invited to submit an abstract of 150 words as well as a short biographical statement. Please include your timezone so we may slate you at an appropriate time. 

Proposals for panels with sufficient abstracts (at least 3) are also welcome!

The following list is illustrative of and by no means exhaustive of possible topics of inquiry:

  • Fascism, terrorism, and propaganda 

  • The role of social media and memes

  • AI

  • CGI, set design, cinematography, and production 

  • Global performances of Wicked

  • Wicked’s (2024) marketing campaign 

  • Fashion
  • Worldbuilding
  • Art
  • Poetry
  • Religion, tiktokism, and fantaticism 
  • Race

  • Gender, sexuality, and queerness

  • Feminism 

  • Disability 

  • Historicism 

  • Psychoanalysis 

  • Ecocriticism 

  • Critical Animal Studies 

  • Posthumanism 

  • Intertextuality

  • Philosophy 

  • Musicology 

  • Performance

The event will be free of charge and hosted online via Zoom (Pacific Time). Notifications of acceptance or rejection can be expected to be submitted up to a week following the deadline. Acceptees will prepare papers/presentations of up to 15 minutes. 

If you are simply interested in just attending, auditing is welcomed and encouraged! A registration form will go out prior to the conference.

Verification of presentation may be administered upon request. 

Please note that there are currently no plans to publish the accepted papers. However, depending on interest and the success of the symposium, I would be very interested to (co-)edit a collection based on the papers presented. If you would like to collaborate on this project, please let me know!

Please email Noah @ noahrgallego@gmail.com with any questions concerning the symposium, whether it be logistics or the content of your proposal.