Wednesday, May 5, 2021

CFP: Work & Play: 2021 Literature/Film Association Conference (7/1/21; New Orleans 10/21-23/21)

 

WORK & PLAY

2021 Literature/Film Association Conference 

New Orleans, Louisiana, USA 

October 21 to October 23, 2021 

(further details and link to registration at http://litfilm.org/conference/)

 

Keynote: Vicki Mayer, Tulane University 

Holding the annual conference of the Literature/Film Association in New Orleans raises questions of labor and leisure in relation to adaptation in the study of literature, film, and media. Not only has the city served as the home to writers and filmmakers, but it also has become a major media capital in its own right, enticing television and film production with tax incentives and its distinctive culture. As “work” and “play” have motivated a good deal of recent scholarship across literature, film, and media studies, we invite presentations that put these concerns in conversation with adaptation, broadly defined. While we welcome papers on any aspect of film and media studies, we are especially interested in presentations that address one or more of the following concerns regarding work or play: 

  • the work behind adapting into a different medium 
  • labor and cultural production 
  • authorship and adaptation 
  • the workplace as cultural intersection/metaphor in literature, film, and media 
  • production studies and below-the-line labor 
  • play in cultural production 
  • teaching adaptation and adapting teaching 
  • labor, social change, and adaptation 
  • adaptation as textual play 
  • game play as adaptation 
  • games as adaptations or adapting games 
  • play in analyzing and interpreting text 
  • plays as adaptations or adapting plays into a different medium 
  • performance as adaptation 

We also have significant interest in general studies of American and international cinema, film and technology, television, new media, and other cultural or political issues connected to the moving image. In addition to academic papers, presentation proposals about pedagogy or from creative writers, artists, and filmmakers are also welcome. 

 

Vicki Mayer is Professor of Communication at Tulane University. Her research encompasses media and communication industries, their political economies, infrastructures, and their organizational work cultures. Her publications seek to theorize and illustrate how these industries shape workers and how media and communication work shapes workers and citizens. Her theories inform her work in the digital humanities and pedagogy, most recently on ViaNolaVie and NewOrleansHistorical. Her books include Producing Dreams, Consuming Youth: Mexican Americans and Mass MediaBelow the Line: Producers and Production Studies in the New Television Economy; and Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy

 

Please submit your proposal via this link by July 1, 2021. If you have any questions or concerns, contact Pete Kunze at litfilmconference@gmail.com. Accepted presenters will be notified by July 15, and the conference program will be available by August 1. We anticipate being in person, but we will follow CDC guidelines accordingly.

The conference hotel rate of $199/night is available at the Four Points Sheraton French Quarter. Limited travel grant support is planned to be available for select graduate students, non-tenure-track faculty, and/or independent scholars and artists. We also will award Best Graduate Student Paper. Details for an added application process for such support will be shared following proposal acceptances in July. 

The conference registration fee is $200 ($150 for students and retirees) before October 1, 2021 and $225 ($175 for students and retirees) thereafter. All conference attendees must also be current members of the Literature/Film Association. Annual dues are $20. To register for the conference and pay dues following acceptance of your proposal, select your registration and click on the PayPal “Buy Now” button below that will take you to where you can sign in to your PayPal account and complete the transaction. 

 

Presenters will be invited to submit their work to the Literature/Film Quarterly for potential publication. For details on the journal’s submission requirements, visit here

Wednesday, March 24, 2021

Medievalisms on the Screen Conference Schedule Posted

Here's the updated press release for the conference.  Try this alternate link to register. (My thanks to June-Ann Greely for the head's up.)

Medievalisms on the Screen: The Representation of the Middle Ages in Audiovisual Media in the 21st Century

March 24, 2021

Medievalisms on the Screen: The Representation of the Middle Ages in Audiovisual Media in the 21st Century (April 29 - May 1, 2021)

Register here to follow the conference online. 

The technological advancements in audiovisual production that have taken place in the first two decades of the 21st century have accentuated the multiple representations of the Middle Ages in popular media. The explosion of the video game industry, the refinement of digital technologies for the re-creation of historical locations and spaces, and the popularization of streaming services, like YouTube and Netflix, have all fostered an increase in platforms for representing the medieval past. Be it the crusaders of Assassin’s Creed (2007) or the Scandinavian world of Vikings (2013-2020), the fantasy universe of Game of Thrones (2011-2019), bands like Rhapsody of Fire or the hack-and-slash hell of Dante’s Inferno (2011), it is a non-academic version of the past that is more familiar to the general public.

The ways in which media affects our perception of the past have real-world ramifications. Specific, distorted representations of the Middle Ages have served as fuel for acts of violence and contributed to the rise of authoritarian, xenophobic, and racist political agendas. Interestingly, this process has gone past traditional “medieval” scenarios and entered into a more global arena: the 2015 Indian film Padmaavati exacerbated tensions in Hindu-Muslim relations in some regions of the subcontinent, further highlighting the close connections among media production, politics, and representations of the past.

The purpose of this interdisciplinary PhD conference is to explore the characteristics and implications of calling an audiovisual product “medieval” in the 21st century. From products that purposely undermine their own historicity like A Knight’s Tale (2001) to those that rely on “accuracy” as part of their advertisement, such as certain videogames, from “Europe-based” productions like Dark Souls to Netflix’s Kingdom (2019) set in Korea, or Team Ninja’s Nioh (2017) set in Japan, we have invited contributions from every area of knowledge relevant to this discussion. Topics might include but are not limited to:

  • Global Middle Ages in popular media
  • Media and national identity
  • Accuracy vs. authenticity
  • Gender relations in medieval productions
  • Magic and the supernatural
  • Political histories and their (sub)conscious implications
  • Middle Ages and fantasy
  • Rock music and the Middle Ages
  • Screenwriting, cinematography, and representation
  • Gameplay mechanics, coding, and procedural rhetoric
  • History popularization and education
  • LARPers and the Middle Ages
  • Museums, memory, and cultural institutions 

Organizing team: Juan Manuel Rubio Arévalo (main organizer), Karolina Anna Kotus, Vania Buso, Halil Evren Sünnetcioglu, Juan Bautista Juan López


Belated News: Medievalism on the Screen Conference

Sorry to have missed this earlier. H-Net is not my favorite resource for CFPs.

Call for Papers!: Medievalism on the Screen: The representation of the Middle Ages in Audiovisual Media in the 21st century


Announcement published by Juan Rubio on Wednesday, December 2, 2020

Type: Call for Papers

Date: February 1, 2021 to May 3, 2021

Location: Austria


Medievalisms on the Screen.

The representation of the Middle Ages in Audiovisual Media in the 21st century (April 29th-May 1st 2021)

PhD Conference, Department of Medieval Studies

Central European University, Budapest/Vienna

The technological advancements in audiovisual production that have taken place in the first two decades of the 21st century have accentuated the multiple representations of the Middle Ages in popular media. The explosion of the videogame industry, the refinement in digital technologies for the recreation of past spaces, and the popularization of streaming services like YouTube and Netflix have all allowed for an increase in the venues for the representation of the medieval past. Be it the crusaders of Assassin’s Creed (2007) or the Scandinavian world of Vikings (2013-2020); from the fantasy universe of Game of Thrones (2011-2019) or bands like Rhapsody of Fire, to the hack-n-slash hell of Dante’s Inferno (2011), it is a non-academic version of the past which is more familiar to the general public.

The way in which media affects our perceptions of the past have real-world ramifications. A specific distorted version of the Middle Ages has served as fuel for acts of violence and the rise of authoritarian, xenophobic and racist political agendas. Interestingly, this is a process that has gotten outside of traditional “medieval” scenarios into a more global arena: the 2015 Indian film Padmaavati exacerbated Hindu-Muslim relations in some regions of the sub-continent, further highlighting the relation between media and politics regarding the representation of the past.

The purpose of this PhD interdisciplinary conference is to explore the characteristics and implications of calling an audiovisual product “medieval” in the 21st century. From products that purposely undermine their own historicity like A Knight’s Tale (2001), to those that rely on “accuracy” as part of their advertisement as in the case of videogames; from “European-based” productions like Dark Souls, to Netflix’s Kingdom (2019) set in Korea or Team Ninja’s Nioh (2017) set in Japan, we invite contributions from every area of knowledge relevant to this discussion.

Topics might include, but are not limited to:

  • Periodization and setting
  • Gender relations in medieval productions
  • Middle ages and pedagogy
  • (Sub)conscious political implications
  • Middle-ages and fantasy
  • Rock music and the middle ages
  • Accuracy vs. authenticity
  • Global middle ages in popular media
  • Media and national identity
  • Production, screenwriting and representation
  • Gameplay mechanics, coding and procedural rhetoric
  • LARPERS and the middle ages
  • Museums, memory and cultural institutions

Paper proposals, no longer than 400 words in length for a paper between 25 to 30 minutes, should be sent to the organizers (e-mail account) no later than February 1st, 2021. The full slate of selected papers will be announced within two weeks after the submission deadline.
Contact Info:


Juan Manuel Rubio Arévalo: PhD candidate in Medieval Studies, Central European University, Austria/Vienna: https://medievalstudies.ceu.edu/people/juan-manuel-rubio-arevalo

Karolina Anna Kotus: PhD candidate in Medieval Studies, Central European University, Austria/Vienna: https://medievalstudies.ceu.edu/people/karolina-anna-kotus

Juan Bautista Juan López:PhD candidate in Medieval Studies, Central European University, Austria/Vienna: https://medievalstudies.ceu.edu/people/juan-bautista-juan-lopez

Monday, March 15, 2021

CFP Shakespeare on Television: Seminar (4/1/21; World Shakespeare Conference remote 7/18-24/21)

DEADLINE EXTENDED: Shakespeare on Television: Seminar at the WSC 2021 (online)

Source: https://call-for-papers.sas.upenn.edu/cfp/2021/03/12/deadline-extended-shakespeare-on-television-seminar-at-the-wsc-2021-online

deadline for submissions:
April 1, 2021

full name / name of organization:
World Shakespeare Congress, Singapore

contact email:
retowinckler@gmail.com



We hereby welcome contributions to the seminar “Shakespeare on Television” for the 11th World Shakespeare Congress: Shakespeare Circuits (Singapore, 18-24 July 2021), to be held online.

If you are interested, please send a short abstract between 100 and 300 words and your short bio by April 1, 2021 to the listed email address and enrol for our seminar by making it your first choice on the form on the conference website (http://139.196.28.181:9090/wsc2021/Seminars.html#form-tag).

Seminar Description

26. Shakespeare on Television

Convenors: Victor Huertas MARTIN (University of Valencia, Spain) and Reto WINCKLER (South China Normal University, China)

The reception history of Shakespeare’s works is mirrored in the trajectory of television series as a form of popular entertainment that has come to be appreciated as high culture. At both levels, Shakespeare is frequently alluded to, parodied, ransacked for characters and motifs, and emulated wholesale. This seminar welcomes theoretical papers and case studies that revise Shakespeare studies to bear on the analysis and interpretation of Shakespeare-inflected television serials; account for the proliferation of Shakespearean memes, echoes, allusions, citations, narrative structures, and references in contemporary television series; define adaptation practices in serial Shakespeares; discuss serial Shakespeares around the globe; undertake critical theory and cultural studies approaches to Shakespeare and television series; address gender, race, and class in serial Shakespeares; critically assess analogies between Shakespeare and television series; analyse the impact of television serials on contemporary Shakespeare performance; evaluate presentist approaches to Shakespeare and television; and more.



Last updated March 15, 2021


Monday, February 1, 2021

Recent Scholarship: Brode and Brode's It's the Disney Version!

 I finally picked up a copy of this intriguing collection. 


Edited by Douglas Brode and Shea T. Brode

Rowman & Littlefield Publishers
Pages: 254 • Trim: 6 x 9 
 
978-1-4422-6606-3 • Hardback • June 2016 • $95.00 • (£73.00)
978-1-4422-6607-0 • eBook • June 2016 • $90.00 • (£69.00) 
 
In 1937, the first full-length animated film produced by Walt Disney was released. Based on a fairy tale written by the Brothers Grimm, Snow White and the Seven Dwarfs was an instant success and set the stage for more film adaptations over the next several decades. From animated features like and Bambi to live action films such as Mary Poppins, Disney repeatedly turned to literary sources for inspiration—a tradition the Disney studios continues well into the twenty-first century.

In
It’s the Disney Version!: Popular Cinema and Literary Classics, Douglas Brode and Shea T. Brode have collected essays that consider the relationship between a Disney film and the source material from which it was drawn. Analytic yet accessible, these essays provide a wide-ranging study of the term “The Disney Version” and what it conveys to viewers. Among the works discussed in this volume are Alice in Wonderland, Mary Poppins, Pinocchio,Sleeping Beauty, Tarzan, and Winnie the Pooh.

In these intriguing essays, contributors to this volume offer close textual analyses of both the original work and of the Disney counterpart. Featuring articles that consider both positive and negative elements that can be found in the studio’s
output, It’s the Disney Version!: Popular Cinema and Literary Classics will be of interest to scholars and students of film, as well as the diehard Disney fan.


Contents (from WorldCat):

Introduction: once upon a time at the movies / Douglas Brode --

"And they lived happily ever after?": Disney's animated adaptation of Snow White and the seven dwarfs (1937) and Fleischers' Gulliver's travels / David McGowan --

Marionette as metaphor: Pinocchio and evolving attitudes toward education / Jean-Marie Apostolides --

Here be gay dragons: queer allegory and Disney's The reluctant dragon / Tison Pugh --

Uncle Walt's Uncle Remus: Disney's distortion of Harris's hero / Peggy A. Russo --

"Glory in the flower": Disneyfying Bambi / David Payne --

Through the cinematic looking glass: Walt Disney's 1951 animated Alice and Tim Burton's 2010 film / Sarah Boslaugh --

Walt Disney and Robert Louis Stevenson: Haskin's Treasure island or Stevenson's Kidnapped? / Scott Allen Nollen --

Of medieval ballads and movie musicals: Walt Disney and the Robin Hood legend / Shea T. Brode with Douglas Brode --

"Do you believe in fairies?": Peter Pan, Walt Disney, and me / Elizabeth Bell --

"In God's good time": Walt Disney and 1950s Cold War culture / Cynthia J. Miller and A. Bowdoin Van Riper --

Perchance to dream: a narrative analysis of Disney's Sleeping beauty / Alexis Finnerty with Douglas Brode --

"It's a jungle out there, kid!": Walt Disney and the American 1960s / Greg Metcalf --

"Higitus! figitus!": of Merlin and Disney magic / Susan Aronstein --

"This is not the Mary Poppins I know!": P.L. Travers goes to Hollywood / David S. and Olga Silverman --

The wonderful worlds of Dickens and Disney: animated adaptations of Oliver Twist and A Christmas carol / Shari Hodges Holt --

The tao at Pooh corner: Disney's portrayal of a very philosophical bear / Anne Collins Smith and Owen M. Smith --

From icon to Disneyfication: a mermaid's aesthetic journey / Finn Hauberg Mortensen --

Pocahontas as Disney princess: history, legend, literature, and movie mythology / Kathy Merlock Jackson and Gary Edgerton --

"Driven to sin": Victor Hugo's complex vision of humanity in Disney's The hunchback of Notre Dame / Michael Smith --

The integrity of an ape-man: Burroughs, Disney, and the meaning of the Tarzan myth / Stanley A. Galloway.
 
 
Authors:
 
Douglas Brode teaches popular culture at Syracuse University’s Newhouse School of Public Communications, the University of Texas at San Antonio, and Our Lady of the Lake University (also in San Antonio). He has published more than 35 books, including Rod Sterling and The Twilight Zone (2009). He is the coeditor of Myth, Media, and Culture in Star Wars: An Anthology (2012) and Sex, Politics and Religion in Star Wars: An Anthology (2012), and Dracula’s Daughters: The Female Vampire on Film (2013). Brode is a contributor to the upcoming PBS-TV mini-series: American Masters: Walt Disney. Shea T. Brode has an MA in Literature and Cultural Studies from the University Autonoma in Madrid. Douglas and Shea are the coeditors of The Star Trek Universe: Franchising the Final Frontier (2015) and Gene Roddenberry’s Star Trek: The Original Cast Adventures (2015).


Tuesday, August 18, 2020

Approaches to Teaching Dante on Screen

 

A cursory review of the new MLA volume on teaching the Divine Comedy turned up the following items of interest:

Chiodo, Carol. “Beatrice in the Tag Cloud.” Approaches to Teaching Dante’s Divine Comedy, Second Edition, edited by Christopher Kleinhenz and Kristina Olson, Modern Language Association of America, 2020, pp. 257-61. Approaches to Teaching World Literature.

Coggesshall, Elizabeth. “Dante’s Afterlife in Popular Culture.” Approaches to Teaching Dante’s Divine Comedy, Second Edition, edited by Christopher Kleinhenz and Kristina Olson, Modern Language Association of America, 2020, pp. 185-91. Approaches to Teaching World Literature.

Essary, Brandon K. “From Poetry to PlayStation 3: Teaching Dante with Video Games.” Approaches to Teaching Dante’s Divine Comedy, Second Edition, edited by Christopher Kleinhenz and Kristina Olson, Modern Language Association of America, 2020, pp. 192-99.

Kleinhenz, Christopher, and Kristina Olson. “Part One: Materials.” Approaches to Teaching Dante’s Divine Comedy, Second Edition, edited by Christopher Kleinhenz and Kristina Olson, Modern Language Association of America, 2020, pp. 1-17. Approaches to Teaching World Literature. 
 

Tuesday, February 25, 2020

Coming Soon from McFarland: Medieval Women on Film

Advance notice:

Medieval Women on Film: Essays on Gender, Cinema and History


https://mcfarlandbooks.com/product/medieval-women-on-film/

Not Yet Published

Edited by Kevin J. Harty
Format: softcover (7 x 10)
Pages:
Bibliographic Info: ca. 25 photos, notes, index
Copyright Date: 2020
pISBN: 978-1-4766-6844-4
eISBN: 978-1-4766-3900-0
Imprint: McFarland


In this first ever book-length treatment, 11 scholars with a variety of backgrounds in medieval studies, film studies, and medievalism discuss how historical and fictional medieval women have been portrayed on film and their connections to the feminist movements of the 20th and 21st centuries. From detailed studies of the portrayal of female desire and sexuality, to explorations of how and when these women gain agency, these essays look at the different ways these women reinforce, defy, and complicate traditional gender roles.

Individual essays discuss the complex and sometimes conflicting cinematic treatments of Guinevere, Morgan Le Fay, Isolde, Maid Marian, Lady Godiva, Heloise, Eleanor of Aquitaine, and Joan of Arc. Additional essays discuss the women in Fritz Lang’s The Nibelungen, Liv Ullmann’s Kristin Lavransdatter, and Bertrand Tavernier’s La Passion Béatrice.


About the Editor:


Kevin J. Harty, a professor of English at La Salle University in Philadelphia, is associate editor of Arthuriana, the official journal of the North American Branch of the International Arthurian Society (of which he is the former president). He has previously written or edited 14 books, including ground-breaking studies of depictions of the Middle Ages on film.


McFarland's Vikings and the Vikings Updated Information

Been meaning to update with with the new cover and contents: 

Vikings and the Vikings: Essays on Television’s History Channel Series

https://mcfarlandbooks.com/product/vikings-and-the-vikings/


Edited by Paul Hardwick and Kate Lister
Foreword by Justin Pollard
Format: softcover (6 x 9)
Pages: 241
Bibliographic Info: notes, index
Copyright Date: 2019
pISBN: 978-1-4766-7374-5
eISBN: 978-1-4766-3843-0
Imprint: McFarland


This essay collection is a wide-ranging exploration of Vikings, the television series that has successfully summoned the historical world of the Norse people for modern audiences to enjoy. From a range of critical viewpoints, these all fresh essays explore the ways in which past and present representations of the Vikings converge in the show’s richly textured dramatization of the rise and fall of Ragnar Loðbrók—and the exploits of his heirs—creating what many viewers label a “true” representation of the age. From the show’s sources in both saga literature and Victorian revival, to its engagement with contemporary concerns regarding gender, race and identity, via setting, sex, society and more, this first book-length study of the History Channel series appeals to fans of the show, Viking enthusiasts, and anyone with an interest in medievalist representation in the 21st century.



Table of Contents:

Acknowledgments v

Foreword by Justin Pollard 1

Introduction (Paul Hardwick and Kate Lister) 3

The Once and Future Viking: The Popularity of Ragnar Loðbrók in the 18th Century (Stephen Basdeo) 7

Norse Noir: Sagas and Sources (Donna Heddle) 21

Fantasizing History: Anachronism, Creative License and the ­Re-Emergence of an Early Language of Storytelling (Eleanor Chadwick) 36

“What does a man do?” Representing and Performing Masculinity (Katherine J. Lewis) 59

Shieldmaidens in ­Anglo-Saxon England: Historical Possibility or Wishful Thinking? (Shane McLeod) 77

Motherhood in Vikings (Lillian Céspedes González) 93

“Have you done this sort of thing before?” Sexual Violence and Historical Revision in Vikings (Kate Lister and Paul Hardwick) 113

Dialogues with the Dead in Vikings (Howard Williams and Alison Klevnäs) 128

Nature and Supernature (Aleks Pluskowski) 153

Things in Vikings (Alexandra Sanmark and Howard Williams) 173

Ambiguous Images: “Vikingness,” North American White Nationalism and the Threat of Appropriation (Richard Ford Burley) 201

About the Contributors 225

Index 227



About the Editors:


Paul Hardwick is Professor of English at Leeds Trinity University, where he leads the creative writing programs and teaches medieval literature. He has published widely on the art and literature of the Middle Ages, with a particular focus on misericords and animal iconography, and on medievalism.

Kate Lister is a lecturer in the School of Arts and Communications at Leeds Trinity University. She has published in the medical humanities, material culture, Victorian Studies, and neo-medievalism. She is a columnist for inews and won the Sexual Freedom Publicist of the Year Award in 2017.





Tuesday, December 31, 2019

Sunday, October 13, 2019

CFP Father Figures in Children’s Animated/Cartoon TV Shows (11/1/2019)

This also might spark some great ideas:


Call for Abstracts - Edited Collection on Father Figures in Children’s Animated/Cartoon TV Shows
https://call-for-papers.sas.upenn.edu/cfp/2019/09/27/call-for-abstracts-edited-collection-on-father-figures-in-children%E2%80%99s-animatedcartoon

deadline for submissions: November 1, 2019

full name / name of organization: Leslie Salas / Embry-Riddle Aeronautical University

contact email: leslie.salas@erau.edu


Call for Abstracts - Edited Collection on Father Figures in Children’s Animated/Cartoon TV Shows



“The handy thing about being a father is that the historic standard is so pitifully low.”
- Michael Chabon, Pulitzer Prize Winner



The trope of the “hapless dad,” clumsy and useless with his own children, appears in storytelling across several mediums—especially in animated kids’ cartoons on TV. For many contemporary kids’ shows, however, this trope appears less pronounced. These shows often showcase masculine parental figures as kind, emotionally intelligent, and nurturing to children, normalizing childrearing is more than just "women's work."

This edited collection, springboarded off David James Poissant’s award-winning article “Let’s Retire the Trope of the Hapless Dad” on UCF Forum, seeks to explore the variety of ways contemporary fatherhood is showcased in TV shows geared toward children.

Abstracts of academic essays should focus on analysis of father figures in animated or cartoon TV shows developed for children (ranging anywhere from infant to late adolescence). Applicants should offer careful consideration to how the portrayals of these dads may perpetuate harmful fatherhood myths and/or strike new ground on establishing healthier models of parental interaction. Discussion of non-traditional families and diverse father figures (queer, multiracial/multiethnic, differently-abled, etc.) is encouraged.

Final essays should aim for a total word count of 5,000 to 8,000 words. At this time, because of permissions restrictions, included images/screenshots from programming are not able to be included in this collection.

Original scholarship submissions, only. (No reprints.) The publisher will hold the copyright for essays accepted into the collection until the book is out of print. As this will be a peer-reviewed collection, several rounds of revision and editing may be needed until the final manuscript is ready for publication.

DUE: Nov. 1, 2019 at http://tinyurl.com/cartoondads-cfa




Last updated October 8, 2019
This CFP has been viewed 106 times.

CFP Sound of the Past (Spec Issue of J of Historical Fiction) (1/1/2020)

This seems of potential relevance:

CfP: The Sound of the Past
https://call-for-papers.sas.upenn.edu/cfp/2019/09/20/cfp-the-sound-of-the-past

deadline for submissions: January 1, 2020

full name / name of organization: Journal of Historical Fictions

contact email: mail@historicalfictionsjournal.org


CfP: The Sound of the Past

What is the role of sound in historical fictions? How can we try to replicate what the world sounded like in the past? What is the role of music in period dramas? Why are contemporary musicals with historical settings so popular? How can sound be described in historical novels?

The Journal of Historical Fictions is looking for papers on any aspect of “sound”, broadly defined (music, mechanical sounds, songs that tell a historical narrative, voices, etc.) for a special issue on sound in historical fictions, ‘The Sound of the Past’. Please send completed articles of 6,000-8,000 words to mail@historicalfictionsjournal.org by 1 January 2020 (see our submission guidelines here: http://historicalfictionsjournal.org/submit.html).

We also have a rolling deadline for articles that relate directly to research and teaching questions on historical fictions of any kind, from all scholarly disciplines, and we welcome spontaneous submissions.

 ****************



Dr Juliette Harrisson
Editor
Journal of Historical Fictions

 Follow us on Twitter @JournalHistFics


Last updated September 23, 2019
This CFP has been viewed 409 times.

Friday, August 30, 2019

Now in Paperback: Middle Ages in Popular Imagination: Memory, Film and Medievalism

Out now from new publisher Bloomsbury in a more affordable paperback edition:

The Middle Ages in Popular Imagination: Memory, Film and Medievalism
https://www.bloomsbury.com/us/the-middle-ages-in-popular-imagination-9781350124905/

By: Paul B. Sturtevant

Published: 08-22-2019
Format: Paperback
Edition: 1st
Extent: 320
ISBN: 9781350124905
Imprint: Bloomsbury Academic
Series: New Directions in Medieval Studies
Illustrations: 20 bw illus
Dimensions: 5 1/2" x 8 1/2"
List price: $39.95


About The Middle Ages in Popular Imagination

It is often assumed that those outside of academia know very little about the Middle Ages. But the truth is not so simple. Non-specialists in fact learn a great deal from the myriad medievalisms - post-medieval imaginings of the medieval world - that pervade our everyday culture. These, like Lord of the Rings or Game of Thrones, offer compelling, if not necessarily accurate, visions of the medieval world. And more, they have an impact on the popular imagination, particularly since there are new medievalisms constantly being developed, synthesised and remade.

But what does the public really know? How do the conflicting medievalisms they consume contribute to their knowledge? And why is this important?

In this book, the first evidence-based exploration of the wider public's understanding of the Middle Ages, Paul B. Sturtevant adapts sociological methods to answer these important questions. Based on extensive focus groups, the book details the ways - both formal and informal - that people learn about the medieval past and the many other ways that this informs, and even distorts, our present. In the process, Sturtevant also sheds light, in more general terms, onto the ways non-specialists learn about the past, and why understanding this is so important. The Middle Ages in Popular Imagination will be of interest to anyone working on medieval studies, medievalism, memory studies, medieval film studies, informal learning or public history.


Table of contents
Chapter 1: The Public Understanding of the Past
Chapter 2: The Medieval Film
Chapter 3: Learning History from Film
Chapter 4: Their Medieval-Middle Ages
Chapter 5: The Middle Ages They Viewed
Chapter 6: The Medieval Worlds They Found
Chapter 7: Conclusions


Wednesday, August 21, 2019

CFP Status of Medievalist Film Studies (A Roundtable) (9/7/19; Kalamazoo 2020)

The Status of Medievalist Film Studies (A Roundtable) at ICMS Kalamazoo 2020
https://call-for-papers.sas.upenn.edu/cfp/2019/07/29/the-status-of-medievalist-film-studies-a-roundtable-at-icms-kalamazoo-2020

deadline for submissions:
September 7, 2019
full name / name of organization:
International Society for the Study of Medievalism
contact email:
medievalismconferences@gmail.com

As medievalism has made its way into mainstream medieval studies, and the teaching of medievalist film alongside medieval texts has become commonplace, what new opportunities and challenges do scholars of medievalist film studies face? These shifts have prompted heated debates in recent years on the values and dangers of teaching Game of Thrones in medieval studies classes, the inadequate framing of medievalist films as adaptations in literature classes and as fiction in history classes, and the formal differences between cinematic and written texts. This roundtable seeks short presentations that address some aspect of this development in scholarship and teaching. Please send proposals (with Participant Information Forms) or questions to medievalismconferences@gmail.com by Sept 15; preference given to proposal submitted by Sept 1.


Last updated July 29, 2019

Out Now: Shakespeare Films: A Re-evaluation of 100 Years of Adaptations

We've been a bit remiss in covering Shakespeare on the site. Here is a recent book from McFarland.

Shakespeare Films: A Re-evaluation of 100 Years of Adaptations
https://mcfarlandbooks.com/product/shakespeare-films/

Peter E.S. Babiak

Format: softcover (6 x 9)
Pages: 212
Bibliographic Info: notes, bibliography, index
Copyright Date: 2016
pISBN: 978-1-4766-6254-1
eISBN: 978-1-4766-2352-8
Imprint: McFarland
$35.00


About the Book

This study reexamines the recognized “canon” of films based on Shakespeare’s plays, and argues that it should be broadened by breaking with two unnecessary standards: the characterization of the director as “auteur” of a play’s screen adaptation, and the convention of excluding films with contemporary language or modern or alternative settings or which use the play as a subtext. The emphasis is shifted from the director’s contribution to the film’s social, cultural and historical contexts. The work of the auteurs is reevaluated within present-day contexts, preserving the established canon while proposing new criteria for inclusion.


Table of Contents


Preface 1

Introduction 5

1. Silent Shakespeare 25

2. The Classical Hollywood Period to World War II 39

3. Olivier and Welles 56

4. Kurosawa 69

5. Kozintsev 84

6. Zeffirelli 99

7. Kott, Brook, Richardson and Polanski 114

8. The 1970s and 1980s 124

9. Branagh 136

10. Millennial Shakespeare 151

Conclusion 166

Chapter Notes 181

Works Cited 186

Index 198


Peter E.S. Babiak has taught composition, drama, film studies and literature at several institutions in Southern Ontario, Canada. He has contributed chapters to scholarly books, published several articles in CineAction Magazine, and been a regular presenter at the Annual Conference of the U.S. Popular Culture Association since 2004. He lives in Canada.

Friday, August 9, 2019

Kline's Digital Gaming Re-imagines the Middle Ages Now in Paperback

Routledge has recently released Daniel T. Kline's collection Digital Gaming Re-imagines the Middle Ages (2014) in a more affordable paperback edition. 

I originally posted on the book in 2013. This post serves as an update. 


Digital Gaming Re-imagines the Middle Ages
https://www.routledge.com/Digital-Gaming-Re-imagines-the-Middle-Ages-1st-Edition/Kline/p/book/9780415630917

Edited by Daniel T. Kline
Routledge
298 pages

Purchasing Options:$ = USD

Paperback: 9781138548572
pub: 2018-02-05
$51.95

Hardback: 9780415630917
pub: 2013-08-06
$160.00

eBook (VitalSource) : 9780203097236
pub: 2013-09-11


Description

Digital gaming’s cultural significance is often minimized much in the same way that the Middle Ages are discounted as the backward and childish precursor to the modern period. Digital Gaming Reimagines the Middle Ages challenges both perceptions by examining how the Middle Ages have persisted into the contemporary world via digital games as well as analyzing how digital gaming translates, adapts, and remediates medieval stories, themes, characters, and tropes in interactive electronic environments. At the same time, the Middle Ages are reinterpreted according to contemporary concerns and conflicts, in all their complexity. Rather than a distinct time in the past, the Middle Ages form a space in which theory and narrative, gaming and textuality, identity and society are remediated and reimagined. Together, the essays demonstrate that while having its roots firmly in narrative traditions, neomedieval gaming—where neomedievalism no longer negotiates with any reality beyond itself and other medievalisms—creates cultural palimpsests, multiply-layered trans-temporal artifacts. Digital Gaming Re-imagines the Middle Ages demonstrates that the medieval is more than just a stockpile of historically static facts but is a living, subversive presence in contemporary culture.


Table of Contents

Introduction: "All Your History Are Belong to Us": Digital Gaming Re-imagines the Middle Ages - Daniel T. Kline

Part 1: Prehistory of Medieval Gaming
1. The Right to Dream of the Middle Ages: Simulating the Medieval in Tabletop RPGs - William J. White

Part 2: Gaming Re-imagines Medieval Traditions
2. "Best and Only Bulwark": How Epic Narrative Redeems Beowulf the Game - Candace Barrington and Timothy English
3. Systematizing Culture in Medievalism: Geography, Dynasty, Culture, and Imperialism in Crusader Kings: Deus Vult - Jason Pitruzzello
4. The Portrayal of Medieval Warfare in Medieval: Total War and Medieval 2: Total War - Greg Fedorenko
5. Gabriel Knight: A Twentieth-Century Chivalric Romance Hero - Angela Tenga

Part 3: Case Study 1 – World of Warcraft 
6. Coloring Tension: Medieval and Contemporary Concepts in Classifying and Using Digital Objects in World of Warcraft - Elysse T. Meredith
7. Sir Thomas Malory and the Death Knights of New Avalon: Imagining Medieval Identities in World of Warcraft - Kristen Noone and Jennifer Kavetsky
8. Accumulating Histories: A Social Practice Approach to Medievalism in High Fantasy MMORPGs - Jennifer C. Stone, Peter Kudenov, and Teresa Combs
9. "Awesome Cleavage": The Genred Body in World of Warcraft - Kim Wilkins

Part 4: Case Study 2 – Dante's Inferno, The Game
10. The Game's Two Bodies, or the Fate of Figura in Dante's Inferno - Bruno Lessard
11. Courtly e-Violence, Digital Play: Adapting Medieval Courtly Masculinities in Dante’s Inferno - Oliver Chadwick
12. Shades of Dante: Virtual Bodies in Dante's Inferno - Timothy J. Welsh and John T. Sebastian
13. The Middle Ages in the Depths of Hell: Pedagogical Possibility and the Past in Dante's Inferno - Angela Jane Weisl and Kevin J. Stevens

Part 5: Theoretical and Representational Issues in Medieval Gaming
14. We Will Travel by Map: Maps as Narrative Spaces in Videogames and Medieval Texts - Thomas Rowland
15. Author, Text, and Medievalism in The Elder Scrolls - Michelle DiPietro
16. Technophilia and Technophobia in Online Medieval Fantasy Games - Nick Webber
17. The Consolation of Paranoia: Conspiracy, Epistemology, and the Templars in Assassin's Creed, Deus Ex, and Dragon Age Harry J. Brown

Part 6: Sociality and Social Media in Medieval Gaming
18. Casual Medieval Games, Interactivity, and Social Play in Social Network and Mobile Applications - Serina Patterson


About the Series

Routledge Studies in New Media and Cyberculture
This series is our home for innovative research in the field of digital media. It includes monographs and targeted edited collections that provide new insights into this subject as its influence and significance grow into the twenty-first century.


About the Editor

Daniel T. Kline is Professor of English at the University of Alaska, Anchorage, USA.