Showing posts with label Calls for Proposals/Essays. Show all posts
Showing posts with label Calls for Proposals/Essays. Show all posts

Thursday, July 16, 2026

CFP Jane Austen Now Edited Collection (8/31/2026)

Of potential interest:

Jane Austen Now - Edited Collection


deadline for submissions:
August 31, 2026

full name / name of organization:
Robert Morris University

contact email:
pamboukian@rmu.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2026/04/21/jane-austen-now-edited-collection


The year 2025 marked the 250th anniversary of Jane Austen’s birth, yet Austen seems to be only increasing in cultural relevance on a global scale. This edited collection explores new Jane Austen-related texts – including films, streaming series, prequel/ sequel novels, graphic adaptations etc. - of the twenty-first century, including…
  • Representing Jane Austen and her family ex. Miss Austen, Miss Austen Regrets
  • Rebooting Jane Austen’s works in new ways ex. Death Comes to Pemberley, Longbourne, The Other Bennet Sister
  • Adapting Jane Austen’s works for a global audience ex. Bride & Prejudice, Aisha
  • Exploring Janeites or Jane Austen fandom ex. Lost in Austen, Jane Austen Book Club
  • Online fan communities, podcasts, YouTube channels, cookbooks, or fan fiction,
  • Traveling to Austen destinations or creating Austen-inspired travel experiences in the UK and globally.

How does this very British author speak to the cultural hybridity of a modern global marketplace? How does the quiet life a Regency countrywoman generate political and cultural commentary regarding modern gender, masculinity, femininity, courtship, and marriage? How does a woman who wrote pen-and-ink manuscripts on a small side table inspire self-sustaining, international communities of readers, fans, and devotees using a variety of media? What is the relevance and appeal of Jane Austen now?

Submit: Abstract: 350-500 word & Bio: 1-2 pages incl. affiliations, publications/ conferences and other qualifications relevant to the topic.



Timeline: Abstracts due August 31, 2026/ Final essays due (if accepted) June 2027

Final essays: approx. 8 000 – 10 000 words using Chicago style with endnotes

Notes: Authors are responsible for obtaining any permissions needed for copyrighted material in the final essays, including licensing costs if any. This collection is in talks with a university press but is not under contract at this time.

Email questions or submit abstracts: Sylvia A. Pamboukian at Pamboukian@rmu.edu



Last updated April 23, 2026

CFP Gender in Fantasy (8/31/2026 BFS Journal)

Gender in Fantasy


deadline for submissions:
August 31, 2026

full name / name of organization:
Dr Kevan Manwaring/The British Fantasy Society

contact email:
kmanwaring@aub.ac.uk

source: https://call-for-papers.sas.upenn.edu/cfp/2026/06/05/gender-in-fantasy


Fantasy has long explored lifeworlds and paradigms outside of societal norms. Orlando, Virginia Woolf’s gender-fluid protagonist, declares, ‘I'm sick to death of this particular self. I want another.’ World myths, legends, folk tales, and fairy tales are early promoters of gender-fluidity, populated by the likes of Inanna/Ishtar; Hermaphroditus, the offspring of Hermes and Aphrodite; androgynous Dionysus; Ardhanarishvara; Ometeotl; Guanyin; cross-dressing thunder and trickster gods; heartsick seafaring maidens disguised as sailors; and the mercurial ontologies of the Fae. In this issue we will explore how gender is portrayed and explored in Fantasy. Fantasy plays an important role in enlarging what is possible, and creating refugia for the marginalised and other modalities. In an increasingly intolerant, xenophobic, and close-minded world, where Far Right governments roll back hard-won freedoms and civil rights legislation, and undermine, mock or openly attack important principles of equality, diversity, and inclusivity, this function of Fantasy is never more vital, for as Orlando states, ‘He who robs us of our dreams robs us of our life.’



The BFS Journal is seeking original, unpublished, human-authored articles of between 2000-8000 words (including bibliography). 

Possible approaches include:
  • Non-binary identities and challenging binaries.
  • Found families and marginalised identities in YA Fantasy
  • The portrayal of matriarchies and patriarchies in Fantasy worlds.
  • The rise of Romantasy and the female gaze.
  • The performance of gender.
  • Power and gender roles.
  • Queer Fantasy and destabilisations of heteronormativity in Fantasy.
  • The divine masculine and feminine in Fantasy.
  • Masks, disguises, masquerades and carnivals.
  • Friendships and relationships in Fantasy.
  • Flirting, courting, and marriage in Fantasy.



Send the Abstract (200 words), including title, keywords, and a 100-word bio to the Editor (Dr Kevan Manwaring) by 31st August. The BFS Journal Winter issue will be published December 2026. Completed articles, if commissioned, will be due in by 30th September, when they will undergo peer-review. Send to: bfsjournal@britishfantasysociety.org



Last updated June 5, 2026

Sunday, August 24, 2025

CFP Disney: A Companion (1/1/2026)

Disney: A Companion


deadline for submissions:
January 1, 2026

full name / name of organization:
Lorna Piatti-farnell and Simon Bacon

contact email:
lpfarnell@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2025/07/26/disney-a-companion


The editors invite abstracts for a forthcoming edited volume entitled Disney: A Companion, which will offer a comprehensive critical exploration of The Walt Disney Company’s cultural, historical, aesthetic, political, and industrial significance. The Companion is intended for the Peter Lang Genre Fiction and Film Companion series (https://www.peterlang.com/series/gffc), and aims to bring together a wide range of interdisciplinary perspectives that interrogate Disney’s enduring legacy and its evolving role in global media and culture.



Since its founding in the 1920s, The Walt Disney Company has shaped not only the animation industry but also broader cultural discourses around childhood, storytelling, consumerism, technology, representation, and national identity. Disney’s innovations in animation – from the early days of Steamboat Willie and Snow White and the Seven Dwarfs, to the more recent digital revolutions seen in Frozen and Encanto – have established it as a central player in the development of visual culture. However, Disney’s influence and reach extend well beyond animation, and its characteristic fairy-tale narrative set ups. They encompass live-action films of different genres, television, comics, theme parks, corporate acquisitions and partnerships (including Pixar, Marvel, Lucasfilm, and 20th Century Studios), streaming platforms, and merchandising. Disney has not only contributed to the development of the animated film as we know it, but also arguably shaped how generations of audiences have experience transmedia storytelling on a wider scale. All of these aspects of the ‘Disney phenomenon’ form a complex conglomerate deserving of sustained scholarly attention across disciplines and contexts.



Taking this as a point of departure, this Companion seeks to engage with Disney not merely as a brand or an entertainment company, but as a key site for creative, cultural, social, historical, political, and industrial negotiations.



Topics might include, but are not limited to:

  • Aesthetics and Technologies: techniques and styles in traditional, digital, and hybrid animation; evolution of character design and character identities; Disney’s visual storytelling strategies; evolving digital technologies; collaboration with and influence on other studios; audio-visual and industrial considerations, including the use of music and songs; critical approaches to the aesthetic, industrial, and cultural category of the ‘Disney film’.
  • Franchises, Adaptations, and Transmedia Storytelling: convergence culture and the evolution of serial storytelling within the Disney empire, including Disney+ and the Disney Channel; case studies on the Marvel Cinematic Universe, Star Wars, and beyond, through a Disney lens; transnational reimaginings; paratextual materials, fan practices, remix culture, and counter-discourses surrounding Disney texts.
  • The Body and Embodiment: how bodies are animated, idealized, and regulated in Disney media; discourses of beauty, physical transformation, and anthropomorphism; disability, and the relationship between the body and mental health in Disney narratives; body transformations and the construction of the self.
  • Representations of ‘Good and Evil’: ethical boundaries and moral binaries within the Disney multiverse; constructions of heroes and villains, and the virtues/values associated with them; politicised understandings of purpose and goals; magic and witchcraft as central Disney tropes; monsters and the monstrous.
  • Race, Ethnicity, and Representation: critical approaches to racial and ethnic portrayals in Disney films and television; Indigeneity and complex representations of ‘Otherness’ within Disney properties.
  • Gender and Sexuality: changing depictions of femininity and masculinity; Feminist critique and queer readings of Disney narratives; gender performativity in animation and live-action; representation in the Disney Princess franchises and beyond; LGBTQI+ representation in both Disney texts and Disney fan communities.
  • Ecology and the Environment: environmental critique within Disney films; corporate practices and environmental considerations; Disney parks and environmental discourses.
  • Historical Perspectives: Disney's role in the development of the American film industry; propaganda and nationalism in wartime productions; corporate history and its intersections with broader historical events.
  • Consumerism, Childhood, Nostalgia, and Fandom: the commodification of childhood and family entertainment; Disney’s influence on children’s culture and education; nostalgia and intergenerational fandom; critical explorations of ‘Disney adult’ fan communities; Disney cosplay and fan-narratives (including fan-vids, fan-fiction, and beyond); Disney and pedagogical discourses.
  • Merchandise, Toys, and Marketing: audience-specific merchandise lines, including critical considerations of ‘Disney Princesses’ products and properties; rare items, collectibles, and exclusivity; branding and marketing strategies in diverse international contexts; Disney parks and the consumer experience.
  • Creativity, the Cultural Industries, and Globalization: Disney’s global reach, including localized content and international reception; considerations over creativity and intellectual property; the cultural impact of Disney properties as creative channels; Disney properties, including theme parks, as cultural institutions in the transnational landscape.



The editors invite abstracts of 250-300 words on or around any of the above topics. Final essays will be 3,000 words in length.

The deadline for submission of abstracts is 1st January 2026. Please email your abstracts (together with a short bio, 150 words max) for consideration to both editors: Lorna Piatti-Farnell, lorna.piatti-farnell@sae.ac.nz; and Simon Bacon, baconetti@googlemail.com.


Last updated July 28, 2025

CFP Edited Volume on Star Wars and Politics in the Disney Era (9/30/2025)

CFP: Edited Volume on Star Wars and Politics in the Disney Era


deadline for submissions:
September 30, 2025

full name / name of organization:
Dominic J Nardi

contact email:
dnardi@umich.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2025/07/28/cfp-edited-volume-on-star-wars-and-politics-in-the-disney-era


This edited volume seeks to collect scholarship on the treatment of political themes and world-building in the Star Wars franchise since Disney acquired Lucasfilm in 2012. Scholars have thoroughly explored political topics in George Lucas’s works, but have paid less attention to how Star Wars projects under Disney have continued, changed, or challenged the franchise’s approach to politics. To advance the scholarship on this subject, we welcome proposals from a variety of disciplines and perspectives, including literary criticism, cultural history, political science, film studies, and fandom studies.



Possible / Suggested Topics:

We are willing to consider relevant proposals about Star Wars stories in any medium — including films, TV shows, novels, comics, and video games — published since Lucasfilm reset the Star Wars canon in April 2014. Below are some topics that essays selected for the volume might address. Please consider this list a starting point for ideas rather than an exhaustive checklist of desired coverage. 
  • Everyday heroes and weapons of the weak in Rogue One and Andor
  • Political idealism in The High Republic multimedia project
  • Magical weapons to identify rightful rulers in Rebels, The Mandalorian, and The Book of Boba Fett
  • Luthen’s accelerationism in Andor
  • Links between the Empire and organized crime
  • Post-conflict justice in the Aftermath and Alphabet Squadron novels
  • Information warfare and propaganda, including the Star Wars Propaganda artbook
  • Political parties in Bloodlines as a commentary on American polarization
  • Star Wars Visions and Ronin as non-Western perspectives on politics in Star Wars
  • Mistreatment of veterans in Rebels, The Bad Batch, Andor, and Obi-Wan Kenobi
  • Transplanetary corporations and the military-industrial complex
  • Income inequality and the donor class in The Last Jedi
  • Pre-Mor Authority and the Empire’s use of contractors
  • Political dynasties and/or cults of personality
  • How political debates during the 2010s and early 2020s affected responses to the Sequel Trilogy
  • Interconnections between the State and carceral institutions
  • Tensions between political and religious institutions
  • Nemik’s manifesto as political rhetoric



Submission and Contact:

Interested authors should email the following to sweede01@luther.edu and dnardi@umich.edu by September 30, 2025:
  • 300-500 word abstract of your proposed chapter;
  • Contact information - name, email address, and any institutional affiliation;
  • Resume/CV for each author/co-author (in any format).

Selected authors will be notified by November 1, 2025, and will be invited to contribute a first draft of a full-length chapter by May 4, 2026. Essays should be between 5,000-7,500 words.



About the Editors

Derek Sweet (sweede01@luther.edu) has been a professor in the communication studies department since 2005, focusing on the topics of rhetoric and public address. Some of his course topics include Public Address, Advanced Public Address, Rhetoric of Everyday Life, Rhetoric of Spirituality, and Media & Popular Culture. He also coedited The Transmedia Franchise of Star Wars TV (Palgrave 2020) and wrote Star Wars in the Public Square (McFarland, 2015).

Dominic J. Nardi (dnardi@umich.edu) is a political scientist who researches the depiction of politics in science fiction and fantasy. He coedited and wrote chapters for The Transmedia Franchise of Star Wars TV (Palgrave 2020), Discovering Dune (McFarland 2022), and Studio Ghibli Animation as Adaptations (2025). He received his PhD from the University of Michigan and teaches at George Washington University.


Last updated July 28, 2025

CFP Adaptation and Terry Pratchett--Essay Collection (10/31/2025)

Adaptation and Terry Pratchett--Essay Collection


deadline for submissions:
October 31, 2025

full name / name of organization:
Anne Hiebert Alton & William C. Spruiell

contact email:
anne.hiebert.alton@cmich.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2025/06/03/adaptation-and-terry-pratchett-essay-collection


We invite proposals for an edited collection of essays on Adaptation and the work of Terry Pratchett. The book proposal will be submitted to Palgrave Macmillan or Bloomsbury Academic’s Perspectives on Fantasy series in the Spring of 2026.

Perhaps best known for his 41-book Discworld series, Terry Pratchett was also the author of numerous other works of fantasy and science fiction. While enormously popular during his lifetime, since his premature death in 2015 his works have only grown in critical statue, with several scholarly articles, books and book chapters, and collections of essays appearing in the last decade.[1] However, none have paid extensive attention to the multitude of adaptations of Pratchett’s works. Spanning areas including drama, film (animated, live-action, and CGI), spoken word recordings and performances, graphic and musical arts, and games (video, RPG, and board), these many and varied adaptations embody Linda Hutcheon’s notion of remediated narrative: the “repetition without replication” that brings together “the comfort of ritual and recognition with the delight of surprise and novelty” (7, 173).[2]

Ideally this volume will include essays that discuss a variety of types of adaptations, as well as showcase not only Pratchett’s Discworld novels but also his other works, including Nation, the Johnny Maxwell series, the Bromeliad trilogy, The Carpet People, various short stories, and perhaps Good Omens. Topics might focus on such areas including, but not limited to, the following:

Theoretical issues: 
  • Adaptation, Interdisciplinarity, Reception, Inter-semiotic translation, etc.Is Pratchett’s work intrinsically adaptable? Is there something about it that makes it particularly appealing to experience through adaptation?
  • Are some Pratchett works more adaptable than others?
  • Given that adaptation necessarily involves change, are there patterned aspects or common threads for what Pratchett adaptations focus on (fidelity debates aside), regardless of mode?
  • How do Pratchett adaptations work? How might they change the experience of the source text, and through that the ground on which any further interpretation is based?

Modes 
  •  How do the potentials of different forms/modalities (or languages) interact with Pratchett’s texts – do they encourage adaptation into some forms at the expense of others? Do they affect the choice of what to adapt beyond what the economics of sales figures would suggest?
  • What characteristics of Pratchett’s texts pose particular difficulties or challenges for adaptation, or (conversely) enable interestingly expanded possibilities for meaning in the new form?
  • How do results from particular adaptations vary between modes/forms?

Roles of participants
  • What kinds of roles do various participants in Pratchett adaptations – the initial author, the adaptor(s), the performer(s), the designer(s), the collaborator(s), etc. – play?
  • What contributions might or should they make or be expected to make?

Treatments of specific source texts and their adaptations
  • How are Pratchett’s works transformed through adaptation? What happens to the source text’s story as a result of adaptation?
  • What are some of the contrasts between various adaptations of the same source text – e.g. Guards! Guards! comic book vs. stage play vs. television series vs. game(s); or The Amazing Maurice musical vs. CGI film; or Small Gods graphic novel vs. BBC radio drama vs. instrumental music rendering – into different modes, and why/how do these matter?
  • If, as Sanders suggests, adaptations “highlight often perplexing gaps, absences and silences within the original” (126), what gaps can be identified in Pratchett adaptations and how do various adaptations engage with these gaps?[3]

Deadlines/Timeline: Proposals of a maximum of 500 words, along with brief author bios, should be sent by Friday 31 October 2025 to Professors Anne Hiebert Alton and William C. Spruiell via email at anne.hiebert.alton@cmich.edu. Notification of acceptance will be sent by 31 December 2025. Please send any questions to the same address.



[1] In addition to numerous articles, other published work includes Daniel Lüthi’s monograph Mapping a Sense of Humor: Narrative and Space in Terry Pratchett’s Discworld Novels (2023); book chapters in Caroline Webb’s Fantasy and the Real World in British Children’s Literature (2015) and Andrew Rayment’s excellent Fantasy, Politics, Postmodernity: Pratchett, Pullman, Miéville and Stories of the Eye (2014); and at least six collections of essays: Discworld and the Disciplines: Critical Approaches to the Terry Pratchett Works (ed. Anne Hiebert Alton and William C. Spruiell, 2014); Philosophy and Terry Pratchett (ed. Jacob Held and James South, 2014); Discworld and Philosophy: Reality is Not What It Seems (ed. Nicholas Michaud, 2016); Terry Pratchett's Narrative Worlds: From Giant Turtles to Small Gods (ed. Marion Rana, 2018); Terry Pratchett’s Ethical Worlds: Essays on Identity and Narrative in Discworld and Beyond (ed. Kristin Noone and Emily Lavin Leverett, 2020); and Power and Society in Terry Pratchett’s Discworld: Building a Fantasy Civilization (ed. Justine Breton, 2025).

[2] Linda Hutcheon, A Theory of Adaptation, 2nd ed., Routledge, 2013.

[3] Julie Sanders, Adaptation and Appropriation, 2nd ed., Routledge, 2016.



Last updated June 8, 2025

Friday, May 9, 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 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 Hobbit, The 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 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

Saturday, January 18, 2025

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 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.

Thursday, March 7, 2024

CFP Geographies of the Fantastic and the Quotidian (Spec Issue of Pacific Coast Philology) (06/05/2024)

Call for Submissions to “Geographies of the Fantastic and the Quotidian”: Special Issue of Pacific Coast Philology


For this special issue, we seek essays that engage the theme of “Geographies of the Fantastic and the Quotidian.” Particularly fascinating might be explorations of the extraordinary, the exemplary, the “out of this world” sorts of places, real and figurative: the spaces of the fantastic and the bizarre. Anything pertaining to the surreal city of Los Angeles would be encouraged. The lived and experienced environments of the banal might spark equally fertile archaeologies of the everyday. Paper proposals of particular interest include explorations of all varieties of heterotopologies; explorations of fictional domains; Borgesian labyrinths; road narratives; enclaves of digital introspection or connection; theme parks; elision, caesura, and other grammatological openings; migration/border crossings; psychedelic “trips” of all sorts; native practices of tending the land; mirrors and projections; choreography and dance; exteriority/interiority; the politics or rhetorics of dispossession; theatrical staging; embodiment and disembodiment; panopticism; the family and/or spaces of domesticity; museums and archives; homelessness and houselessness; communities and cliques; as well as both paroxysmal places and quiet passages.



Please contact Special Issue Editor Jeremiah B.C. Axelrod at pamla@axelrod.info if you have questions.



Essay proposals should include the following, and should be emailed to Jeremiah B.C. Axelrod at pamla@axelrod.info by June 5, 2024: cover page with author’s name, affiliation, and a brief biography, plus the title of the essay; also a 4,000 to 7,000 word separate document with a brief abstract, a list of four to seven keywords, and the proposed paper, following the guidelines of the MLA Style Manual, 9th edition. Important: Please include Geographies of the Fantastic and Quotidian Special Issue Proposal in your email subject line to ensure prompt processing

Wednesday, January 18, 2023

CFP Futuristic Epistemology and Scientific Dimensions: Neo-perspectives in Science Fiction (Spec Issue) (2/5/2023)

Futuristic Epistemology and Scientific Dimensions: Neo-perspectives in Science Fiction”


deadline for submissions:
February 5, 2023

full name / name of organization:
The Golden Line: A Magazine of English Literature

contact email:
guested.goldenline@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2023/01/10/futuristic-epistemology-and-scientific-dimensions-neo-perspectives-in-science-fiction


Call for Papers: Volume 5, Number 1, 2023

Themed Issue on

“Futuristic Epistemology and Scientific Dimensions: Neo-perspectives in Science Fiction”


To be edited by

Niladri Mahapatra & Akasdip Dey

PG Department of English, Bhatter College, Dantan



The Golden Line, a peer-reviewed magazine, is inviting scholarly papers on “Neo-perspectives in Science Fiction”. Science fiction, as a prose narrative form, allows social explorations and experimentations. Adding science to fiction is making it more interesting as science affirms that fiction can also negotiate with truth. So, the discourse of SF creates an interdisciplinary space for many new themes to be focused on and discussed in this issue.

The issue intends to focus on the following thematic areas; however, they are suggestive and not restrictive:

Suggested Topics:
  • Truth and SF
  • Postmodernism and SF
  • Postcolonialism and SF
  • Posthumanism and SF
  • Aestheticism and SF
  • Psychoanalysis and SF
  • New Romanticism and SF
  • Popular Culture and SF
  • Punk Culture and SF
  • Ecology, Climate Change and SF
  • Politics and SF
  • Translation Studies and SF
  • Science and SF
  • Religion and SF
  • Utopia and Dystopia
  • Alternate Reality
  • Parallel Universe, Multiverse and Time Travel
  • Aliens in SF
  • Animals in SF
  • Space and SF
  • Gender and SF
  • Robotics
  • Science Fiction Film
  • Science Fiction Comics
  • Science Fiction Magazine

Important Dates:

Submission of abstract: January 15, 2023

Notification of acceptance: January 17, 2023

Submission of full paper: February 05, 2023

[N. B. It is not obligatory to send the abstract within that day, author can also send the full paper (without sending the abstract) within 5th February.]

Author’s Guidelines:

Kindly submit the abstract of your paper in about 100-150 words (Times New Roman, 12) with 4-5 Keywords.

After the selection of your abstract, you are asked to submit your full-length article/ paper.

Articles should be written in an MS Word file following the 8th edition of MLA style.

Word Limits for the full paper: 2500-5000 words.

Authors’ bio-note of around 100 words should be added at the end of the paper.

Submission:

Submit your paper at guested.goldenline@gmail.com [add a CC to the Chief Editor, Mir Ahammad Ali at mir.goldenline@gmail.com]

Further Details:

Visit Our Magazine site: http://goldenline.bhattercollege.ac.in




Last updated January 11, 2023

Saturday, July 16, 2022

CFP Space, the Feminist Frontier: Essays on Women and Gender in Star Trek (11/29/2022)

Space, the Feminist Frontier: Essays on Women and Gender in Star Trek

source: https://call-for-papers.sas.upenn.edu/cfp/2022/07/13/space-the-feminist-frontier-essays-on-women-and-gender-in-star-trek

deadline for submissions:
November 29, 2022

full name / name of organization:
Jennifer Garlen

contact email:
jennifer.garlen@gmail.com



Co-editors Jennifer C. Garlen and Anissa M. Graham are currently seeking proposals for an anthology of intersectional feminist essays examining the past and present of Star Trek. Proposals may engage any of the Trek films, television series, or related media (games, books, convention culture, etc). At this time, we are particularly interested in proposals that represent LGBTQ+ and BIPOC perspectives. Graduate students and independent scholars are welcome to submit proposals. Accepted contributors will receive author credit for their work as well as a free copy of the final publication, pending acceptance of the book proposal by an academic publisher. Proposals should include a working title, a brief (1-2 paragraph) summary, and relevant personal or academic background. For questions or proposal submissions please email Jennifer at jennifer.garlen@gmail.com.

Jennifer and Anissa are the co-editors of two previous essay anthologies for McFarland: Kermit Culture (2009) and The Wider Worlds of Jim Henson (2013). Both have also contributed to several academic essay anthologies about film, television, and popular culture.



Last updated July 14, 2022