Friday, May 9, 2025

CFP Fan Studies Network North America (FSNNA) 2025 conference (5/16/2025; online 10/23-26/2025)

Fan Studies Network North America (FSNNA) 2025 conference

deadline for submissions: 
May 16, 2025
full name / name of organization: 
Fan Studies Network North America (FSNNA)

Get Ready – CFP for FSNNA 2025! Call for Participation

Fan Studies Network North America Conference 2025 (virtual)

October 23-26, 2025

 

REPUTATION: Influence, Power, and Capital

FSNNA Annual Conference 2025

When fan studies first emerged as an undisciplined discipline, fandom was more of a niche activity whose practices (and even existence) still had to be explained to a general readership. Today though, fandom is a widely recognized phenomenon, a frame of reference for popular culture, and a desirable market demographic for new cultural products like music, films, and games. These broader cultural shifts are often mirrored within fandom itself: experienced fans observe that multifandom peers move from interest to interest faster, while new fans might enter fandom(s) without any knowledge of community norms. 

As participation in fandom has broadened, changing fan experiences and fan cultures, many reckon with questions about what it means to be in fandom and to be a fan today. While most seem to embrace and accept the idea that fandom can be fun, there’s a shared sense that it is also so much more. But what does that entail? Is fandom a form of activism? Slacktivism? Representation? Social justice work? Moral stance? Popularity contest? Some combination thereof?

As we consider the shifting understandings and reputations of fandom(s), fan studies has much to offer. Who holds the most influence? Who wields what kinds of power? How do social, subcultural, and financial capital intersect with grassroots activity and forms of production? And how does all of this change fandom in turn? 

As this conference enters its eighth year, FSNNA invites proposals exploring these avenues into fandom and fan studies. We are especially interested in work that considers how fan communities, activities, and works interact or engage with the reputation of fandom itself – for better, for worse, or for both. 

Submissions for the 2025 FSNNA Conference

Fan Studies Network North America (FSNNA) warmly welcomes submissions from early career researchers, graduate students, and independent scholars, as well as established scholars. (This year, we’re also offering a track specifically for undergraduate students: check out the parallel cfp HERE!) Contributions are welcomed from across disciplines, not just fan studies: we are interested in work from media studies, the humanities, the social sciences, library science, and more.

Some topics that we hope to see submissions for include (but are not limited to!):

  • Capital and fandom participation: financial/economic capital, social capital, cultural capital, etc. 
  • Influence in fandom: parasocial relationships, BNFs, microcelebrities, 
  • Power in fandom: politics, policing, gatekeeping; who speaks, creates, listens, learns  
  • Having a platform: platform migration, features, community roles, moderation
  • Intersectional identities: fans, fan-creators, performers, authors, actors
  • Antagonisms and Fandom: the changing language and nature of “anti-fandom” 
  • Fandom during crisis: in continuing “post-Covid” era, during rise of global fascism, during online platform precarity
  • Internal and external perceptions of fandom: media representations, stigmatization, celebration, misinformation

This work may focus on specific media texts (e.g., film, television, print texts/series, games, video streaming, etc.) or other fan-objects (e.g., sports, music, celebrity culture, etc.). Alternatively, it may consider specific national or regional contexts, theoretical approaches to studying fandom, investigations of fanwork genres or fan practices, and more.

Format of the 2025 Conference

FSNNA 2025 is once again a discussion-focused online conference with accessibility, interdisciplinarity, and global participation at its heart. However, based on participant feedback from previous years, we are moving towards a format that allows for longer conference presentations of roughly 10-15 minutes apiece. Essentially, you can choose one of two options. 

  1. Presentation Track (Roundtable Talk + Poster)

Participants on the presentation track will be grouped into roundtables based on overlapping objects, approaches, methods, or themes. Each presenter will have an opportunity to introduce themselves and explore their work for 10-15 minutes, followed by a moderated discussion and Q&A with the audience.

Participants will also prepare a digital poster summarizing their research contribution. (More specific guidelines about poster formats will be available after submissions are evaluated.)

  1. Poster Track (Poster ONLY) 

Participants on the poster track will prepare a digital poster summarizing their research contribution. They will not be assigned to a roundtable or introduce their work during a talk. 

All posters from both tracks will be available asynchronously throughout the conference in our Discord server, where attendees can post questions and share feedback.

PLEASE NOTE: As part of your application, you will be asked to stipulate which track you are applying for – presentations or poster only. Likewise, once a submission is accepted, the participation format cannot be changed (i.e., you cannot move from poster only to presentation, or vice versa).  

As in past years, we also welcome the submission of pre-constituted roundtables, which are a group of 3-5 talks that are already organized around a shared topic, text, and/or method. Please note, however, that participants in a pre-constituted roundtable must still contribute posters.

Submissions are due by Friday, May 16.

Submission Details

Ready to submit your work for FSNNA 2025? Here’s what the application form will ask for: 

  • An abstract of ~300 words (include a clear explanation of your research, methods, and the project’s relevance to fan studies and fan studies scholars)
  • 3-5 keywords about your poster (may include topics, texts, theories, methods, etc.)
  • A bibliography of 3–5 references
  • A biographical statement (~50 words)

Get Ready for the 2025 Conference!

We’re excited to consider your work for the 2025 FSNNA conference! We also encourage you to check out a new offering this year: a parallel cfp for undergraduates interested in presenting their fan studies work at FSNNA.

Still have a question? Please feel free to contact us at fsnna.conference@gmail.com.

Ready to submit your work? Visit our submission form HERE

(Or if the link above doesn’t work, copy and paste this into your browser: https://docs.google.com/forms/d/e/1FAIpQLSdtiTvsJS6_dIOdAGyfjeVM-_i7QGwOhi3ICmLHfWfRYRrlGA/viewform?usp=sharing)


Last updated May 5, 2025

Call for Book Chapters -- Fans, Fandoms, and Tabletop Roleplaying Games (6/15/2025)

Call for Book Chapters -- Fans, Fandoms, and Tabletop Roleplaying Games

deadline for submissions: 
June 15, 2025
full name / name of organization: 
Fans, Fandoms, and Tabletop Roleplaying Games

Call for Book Chapters
on Fans, Fandoms, and Tabletop Roleplaying Games


Deadline for submissions: Sunday, June 15, 2025

Contact email:fans.fandoms.and.ttrpgs@gmail.com 

 

Editors: 

Maria K. Alberto, University of Utah

Adrianna Burton, University of California – Irvine

 

We are seeking proposals for chapters to be included in a peer-reviewed edited collection on fans, fandom(s), and tabletop roleplaying games (TTRPGs). The University of Michigan Press has expressed interest in this collection and the book proposal is currently underway. 

 

TTRPGs are rapidly evolving, as are their players, designers, and content creators. For example, industry titan Wizards of the Coast released a new 2024 Dungeons & Dragons ruleset; Catalyst Games successfully crowdfunded a Frostpunk tabletop adaptation; and indie studios like Evil Hat and Crossed Paths continue launching new games. Meanwhile, actual play (in which players record themselves playing TTRPGs, and the recordings are released as their own media texts) has proven a booming area of interest. Actual play shows like Critical Role and Dimension 20 regularly draw tens of thousands of viewers each week; these shows are also expanding in new directions with spin-offs like live events, novelizations, and more. TTRPGs have even made it mainstream both on the silver screen, in movies like Honor Among Thieves (Paramount Pictures, 2023), and on consoles, as with video games such as Baldur’s Gate 3 (Larian Studios, 2023). 

 

Underlying all of these developments is the undeniable involvement of fans, who play a critical role in the success of TTRPGs both new and established. This edited collection will critically explore relationships between fans, fandom(s), and TTRPGs, examining how these connections impact analog gaming in both its long-standing and emerging forms.

We are interested in close readings of specific texts, in autoethnographic or personal experiences contextualized critically, and in considerations of historical or overall trends and movements, among other approaches. We invite perspectives from game studies, fan studies, and beyond; other disciplines may include performance studies, digital humanities, pop culture studies, sociology, communication, media studies, interdisciplinary work, and more. This collection is ultimately interested in exploring questions such as: who are fans of TTRPGs? How might fans relate their positionality as simultaneously TTRPG players, creators, and/or freelancers? How do TTRPGs and their producers view their fans and fandom? How do fans position themselves in reaction to industry or textual changes?

Potential topics for chapters include, but are not limited to: 

  • Fan productions inspired by TTRPGs (fanfiction, fanart, fanvids, etc.) 

  • Positionality of TTRPG fans and/as players

  • TTRPG fan culture - in general, or for mainstream vs. indie TTRPGs

  • Navigation of TTRPG fandom (as fan, creator, consumer, viewer, or other positionalities)

  • Industry perspectives on TTRPG fandom

  • Design for fans, fandom, and/or fan engagement

  • Designers and industry professionals as fans

  • Fan reactions to industry or textual changes like the Open Game License (OGL), Open RPG Creative License (ORC), new seasons of actual plays,etc.

  • Fans of actual play shows 

  • Education and TTRPG fandom

  • Technology/digital platforms and TTRPG fandom

  • Other topics related to TTRPG fans and fandom(s)

 

Please submit a 300-500 word abstract for your proposed chapter (including title, 3-5 keywords, and a 100-150 word author bio) to fans.fandoms.and.ttrpgs@gmail.com with the subject line “Chapter Proposal [Author Name].” 

 

Deadline for Abstract Submission: June 15, 2025

Notification of Acceptance: July 1, 2025

Full Chapter First Draft Submission Deadline: December 15, 2025


Last updated May 5, 2025

Saturday, May 3, 2025

CFP Metamorphosis - Themed Issue of Femspec - Call for Scholarly and Creative Submissions for Issue 25.2 (8/1/2025)

 

Femspec - Call for Scholarly and Creative Submissions for Issue 25.2

deadline for submissions: 
August 1, 2025
full name / name of organization: 
Femspec

Femspec seeks both scholarly and creative submissions for its upcoming Issue 25.2

Femspec is an interdisciplinary, peer-reviewed feminist academic journal dedicated to science fiction, fantasy, magical realism, surrealism, myth, folklore, and other supernatural genres.  Femspec publishes both academic scholarship and creative writing.

Creative writing submissions could include short fiction, poetry, or experimental forms.

For this issue, we are particularly interested in any material related to the theme of metamorphosis.  Scholarship or creative writing could potentially focus on issues of evolution, change, renewal, the coming out process, or the fluctuations of queer identity and desire.

To submit work for consideration, please review Femspec’s submission guidelines at the following link: SUBMISSION GUIDELINES | Femspec

The submission form is located at the following link: Submission Form | Femspec

Please note that in order to submit work to the journal for publication, you must be subscribed to the journal; please click on the following link for subscription information: Subscribe | Femspec

The deadline for submission for Issue 25.2 is August 1st, 2025


Last updated April 10, 2025

CFP War in Fantasy (8/31/2025; British Fantasy Society Journal)

 

War in Fantasy

deadline for submissions: 
August 31, 2025
full name / name of organization: 
British Fantasy Society

In this special issue of the BFS (British Fantasy Society) Journal we take a hard look at War in Fantasy. Conflict, from skirmishes to mass battles, tavern brawls to planet-wide apocalypses, is a staple of Fantasy: The Battle of the Five Armies in The HobbitThe Last Battle in Narnia, The War in Heaven by Charles Williams, and Lyra Belacqua’s fight against death and the consciousness-stifling strictures of the Magisterium, are a few examples. In Warhammer 40K, which expanded the original Fantasy table-top wargame into the far future, we learn ‘in the grim darkness of the far future there is only war.’ There are very few large-scale Fantasy texts that do not acknowledge the impact of war in some way, whether through invasion, siege, massacre, colonisation, spoils of war, legacy, or trauma. Protagonists and places are scarred by it. Narratives are often prominently ante-, para-, or postbellum. Powerful weapons – key to victory or defeat, depending on whose hands they fall into – their acquisition and mastery, are the MacGuffins that drive plot. But does the prevalence of conflict in Fantasy normalise violence and even perpetuate it, or does it offer a useful mirror, allowing us to have a perspective on real-world conflict, narrativize trauma and learn to overcome it? Articles on any of these aspects are welcome. Here are some suggestions:

  • The influence of the First World War on Tolkien’s Middle Earth.
  • Early depictions of war in taproot texts such as Beowulf.
  • Changing depictions of warfare in 21st Century Fantasy.
  • Warfare between the human and the other-than-human.
  • Hidden, supernatural wars.
  • The depiction of non-western cultures in Fantasy warfare.
  • Portrayal of marginal figures in warfare, e.g., scavengers; servants; animals.
  • The impact of warfare on urban and rural settings in Fantasy.
  • Magic in warfare.
  • Historical influences on depictions of warfare in Fantasy, e.g. armour, weaponry, tactics.
  • Parleys, peace treaties, truces, ceasefires, and the cessation of conflict.
  • The aftermath of war in Fantasy texts.
  • Valkyries, Morrigans, and other psychopompic figures in warfare.
  • Visions in conflict and haunted battlefields.

Submissions should be clearly titled as follows: SURNAME_TITLE_BFSJOURNAL_CFP_WINTER2025. A 200-word abstract and 100-word author bio should be included. Work needs to 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 December 2025.


Last updated April 10, 2025

CFP Special Issue: AppleTV+ and Science Fiction--EXTENDED DEADLINE (5/21/2025)

 

Special Issue: AppleTV+ and Science Fiction--EXTENDED DEADLINE

deadline for submissions: 
May 21, 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

EXTENDED DEADLINE—Abstracts due May 21, 2025 

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).

**NOTE: We are particularly interested in essays that address, preferably within a science-fictional framework, AppleTV+’s less discussed series, including but not limited to Dr. Brain (2021), Invasion (2021), and The Last Days of Ptolemy Grey (2022), among others. We will also consider essays on AppleTV+’s original science fiction films, such as Finch (2021), Fingernails (2023), and Swan Song (2021). We have received many proposals for essays on Severance, so additional essays on this series alone will not be considered. We are also interested in essays that critically assess issues of class, disability, gender, and race.

Abstracts of no more than 500 words will be due by May 21, 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.


Last updated May 1, 2025

CFP Transformers and SOGIE: Call for Proposals for Edited Collection (5/31/2025)

 

Transformers and SOGIE: Call for Proposals for Edited Collection

deadline for submissions: 
May 31, 2025
full name / name of organization: 
Daniel M. Look

Title: TBD, but potentials include:

  • ‘Til All Are One: Gender, Sex, Sexual Orientation, Gender Identity/Gender Expression (SOGIE) in Transformers

Editors (Collaborators): Elizabeth Sanders, Daniel M. Look

Description / Call for Papers:

We are soliciting chapters/articles for an edited academic book on topics relating to the Transformers franchise and gender, sex, sexual orientation, gender identity, and/or gender expression.Proposals from academics and independent scholars covering official continuity/properties, fanfiction, the fandom, and content creators will be considered. Proposals should be for new essays, not republications of previous works.

Since its inception in 1984, the Transformers property has had a complicated relationship with concepts relating to sex and gender. During the creation of the names and personalities for the original characters, Bob Budiansky proposed that Ratchet, the medical robot, be a female character. Hasbro rejected the idea, reportedly saying "this is a boy toy. We don't wanna have, you know, girl robots."

However, during the Sunbow animated series, we are introduced to (unfortunately, one-dimensional) ‘female Autobots’ in the episode “The Search for Alpha Trion” and, in 1986, Transformers: The Movie introduced the first recurring female transformer in Arcee.

In the US Marvel comics continuity, the transformer Cloudburst states that for transformers “there are no men, no women…no mates!” Female transformers exist in the Marvel UK comic series, but this is primarily a result of that continuity incorporating aspects from the 1986 animated movie.

Starting in the animated series Beast Wars, cast inclusion of one or more female characters became more commonplace, but they were still heavily outnumbered. Likewise, their gender and gender expression and relationships, when they existed, were cisgender and heteronormative.

The 2005 IDW comics continuity changed this landscape and moved gender identity and expression, sexual orientation, and more diverse relationships closer to the spotlight with, we add, Hasbro’s endorsement and support. We see an incredible explosion of topics ranging from homonormative societies, gender without the “biological” concept of sex, transgender robots, and concepts for close, platonic relationships (amica endura) and spouses (conjunx endura).

These topics are complex and not something expected from a ‘toy’ franchise. Further, there was a directed effort to include women and LGBTQIA+ creators and consultants to write these stories in believable and sensitive ways. That effort has continued in follow up cartoon series, including Transformers: Earthspark, which introduced the first non-binary Transformer. Although some of the expected pearl-clutching occurred, the response was, by and large, positive. However, beyond interviews with creators and fan articles, little academic attention has been paid to the Transformers franchise and its relationship to these topics.

To our knowledge, there is no published academic work relating to this material. Our hope is that this edition will not only stand on its own, but also welcome and encourage further scholarship in this field.

Contributions could include, but are not limited to, the following topics:

Potential Sections & Chapter Ideas

Why “Genderless” Means Male

  • Portrayals of Masculinity
  • Boys Toys = Boys: Hasbro specifying only wanted male character ers for G1 cartoon
  • How “Genderless” Appears in Comics: more as “sex less,” but really all monosexed/gendered as male
  • One of Those: Intimacy and emotions not being the focus (traditionally)
  • The Trouble with Gobots: Gobots had many female characters and, for the most part, you could not tell male from female from their body design
  • Monstrous Reproduction
    • Physically monstrous: Budding, Protoforms
    • Ideologically Monstrous: Made to Order, Vehicons
    • Frankenstein Approach: “Firstborn,” Dinobots, Tarantalus, Quintissons
    • Sacred Well: Vector Sigma, Quintus Prime
  • The Problem of Fembots/Femmebots
    • Arcee’s Journey as “The Only One”
    • Toys for Boys: Fembots/Femmebots as Sexual/Romantic Objects
    • All Hail the Queen: Black Arachnia / Airachnid
    • Bringing Balance: Caminus (IDW), Fan Polls (female Megatronous/Victorion) + Windblade, Mairghread Scott (author)
  • Queer Identities
    • Found Family: Conjunx Amica
    • MLM and WLW: Conjunx Endura
    • Trans-Transformers: Anode, Lug, Arcee
    • A Wonderful Experience: Nightshade, Non-binary Transformer
    • Intention vs. Interpretation: Knock Out and Breakdown
    • Frenemy or “Will they/Won’t They?”: Ratchet and Drift as a romantic partnership that would have been predicted had they been perceived as male/female
  • Humans (Fans and Creators)
    • Own Voice: Queer Creators in Transformers (writers, consultants)
    • Importance of seeing yourself in your fiction
    • Unchecked Privilege and complaints about Genderswapping: “If you want more female characters create new characters”
    • Won’t someone think of the children?: Fan reactions to themes related to gender/orientation in fiction for children
    • Fan reactions: “don’t get your politics in my toys”
    • Cultural differences in reactions from international fanbase
  • Misc.
    • Bishojou Figures
    • Kiss Players (tread carefully here)
    • TFs in love with humans, aliens, mermaids, etc. (Seaspray and Powerglide) as explorations of gender identity/sexual identity

To express interest and receive details about submitting a proposal, please contact the editors at esanders5@lamar.edu and dlook@stlawu.edu.

 This edited volume will be organized into thematic sections around these topics and others that emerge from submissions. Prospective authors should contact the editors with any questions, including potential topics not listed above.

Please submit a 300-500 word abstract of your proposed chapter contribution as a Word Document (not PDF) with a brief bio (in the same document), current position and experience with the topic, affiliation (if any), and complete contact information to editors Elizabeth Sanders and Daniel Look by May 31, 2025. Full chapters of 6000-8000 words are likely due December 2025. A publisher has shown preliminary interest.

Please share this announcement with anyone you believe would be interested in contributing to this volume. Proposals from academics and independent scholars covering official continuity/properties, fanfiction, the fandom, and content creators will be considered. 

Note: Acceptance of a proposed abstract does not guarantee the acceptance of the full chapter.


Last updated May 1, 2025

CFP “Living in a Material World”: The 1980s in Popular Culture (7/31/2026; PopCRN 11/26-27/2026)


“Living in a Material World”: The 1980s in Popular Culture
deadline for submissions: 
July 31, 2026

full name / name of organization: 

PopCRN - The Popular Culture Research Network

Call for Papers

“Living in a Material World”: The 1980s in Popular Culture

 

PopCRN (the Popular Culture Network) will be holding a free virtual symposium exploring the 1980s in popular culture to be held 26-27 November 2026.

The 1980s was the decade of excess, technological innovation, and political upheaval. This conference aims to explore both the popular culture of the 1980s and how the 1980s have been depicted in the popular culture of other eras.

The 1980s was the era of MTV, the personal computer, the fall of the Berlin Wall, the rise of neoliberalism, Live Aid, the Falklands War, the Iran-Contra affair, the assassination of John Lennon, the AIDS crisis, Chernobyl, the end of the Cold War, the birth of hip-hop, Madonna’s Like a Virgin, Michael Jackson’s Thriller, the Walkman, Rubik’s Cubes, shoulder pads, punk, glam metal, synthesizers, VHS tapes, The Breakfast Club, Top Gun, Ferris Bueller’s Day Off, Blade Runner, Pac-Man, the Challenger disaster, the rise of video game culture, The Simpsons, The Oprah Winfrey Show, 24-hour news networks, the invention of the World Wide Web, the election of Ronald Reagan, Margaret Thatcher’s Britain, the Tiananmen Square protests, the creation of CNN, the rise of Japanese consumer technology, the Space Shuttle program, the rise of Wall Street culture, yuppies, the DeLorean, New Romanticism, breakdancing, Miami Vice, The Cosby Show, He-Man, Transformers, the emergence of cyberpunk, Ghostbusters, The Goonies, Nintendo, Trivial Pursuit, E.T. the Extra-Terrestrial, and many more.

We welcome papers from researchers across the academic spectrum and encourage submissions from postgraduate and early career researchers. We also welcome submissions for papers, panels and round tables. Papers from this conference will have the opportunity to be published in an edited book.

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

  • "Greed is good." – The financial excess and corporate culture of the 1980s.
  • "I want my MTV." – The rise of music television and the visualisation of pop music.
  • "Nobody puts Baby in a corner." – Gender, romance, and independence in 1980s film.
  • "I pity the fool!" – The rise of wrestling, action heroes, and hyper-masculinity.
  • "Do you really want to hurt me?" – LGBTQ+ identities and culture in the 1980s.
  • “The dream is alive.”– The Space Shuttle program and its impact on popular imagination.
  • "Gotta catch ‘em all!" – Toys, video games, and marketing to children in the 1980s.
  • "This is your brain on drugs." – The War on Drugs and moral panics.
  • "We’re not gonna take it!" – Punk, rebellion, and counterculture.
  • "Tear down this wall!" – The Cold War in popular culture.
  • "The computer is personal." – The rise of home computing and digital culture.
  • "The more you know." – Education, media, and the spread of information in the 1980s.
  • "Life moves pretty fast." – Youth culture and coming-of-age narratives in 1980s cinema.
  • "I ain’t afraid of no ghosts!" – Science fiction, horror, and the supernatural in 1980s media.
  • "Power dressing." – Fashion, materialism, and aesthetics of the decade.

Please submit by your proposed abstract by 31st July 2026

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Last updated April 3, 2025

CFP Child's Play in Popular Culture: History, representations and consumption (11/30/2025; PopCRN 4/30-5/1/2026)

Of potential interest:

Child's Play in Popular Culture: History, representations and consumption

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

Call for Papers

Child's Play in Popular Culture: History, representations and consumption

PopCRN – The Popular Culture Network invites scholars to explore the diverse representations of childhood in popular culture at a virtual symposium to be held online on 30 April – 1 May 2026.

From dolls and board games to digital playgrounds and interactive media, the concept of play has been a defining aspect of childhood across cultures and historical periods. Popular culture has both shaped and been shaped by children’s play, reflecting broader societal values, anxieties, and technological advancements.

This conference, Child’s Play in Popular Culture: History, Representations, and Consumption, invites scholars, researchers, and practitioners to explore the multifaceted ways in which play is constructed, represented, and consumed in popular media and culture.

We welcome papers from researchers across the academic spectrum and encourage submissions from postgraduate and early career researchers. Presenters will have the opportunity to submit their work for consideration in a refereed book publication.

Topics can include, but are not restricted to:

  • "Life must be lived as play." – The history of children’s games and toys in popular culture
  • "All work and no play makes Jack a dull boy." –Representations of play in literature, film, television, and digital media
  • "Play is the highest form of research." - Play and pedagogy: the intersection of entertainment and education
  • "Toys are put on this Earth to be played with by a child." – Commercialization and commodification of childhood through toys and games
  • "Girls can do anything!" –Gender, race, and class in play culture
  • "The future of play is digital." – The influence of technology on play: from board games to virtual worlds
  • "Adults are only kids grown up, anyway." – Fan cultures, nostalgia, and adult engagement with childhood play
  • "It’s all fun and games until someone gets hurt." – Risk, danger, and moral panics around children’s play
  • "If you obey all the rules, you miss all the fun." – Play as resistance: subversive and transgressive forms of play
  • "The world’s playgrounds are as diverse as its cultures." – Global and cross-cultural perspectives on child’s play in popular culture

Please submit by your proposed abstract by 30th November 2025

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Last updated April 3, 2
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