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

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

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
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

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

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

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

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

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

Edited by Daniel T. Kline
298 pages

Purchasing Options:$ = USD

Paperback: 9781138548572
pub: 2018-02-05

Hardback: 9780415630917
pub: 2013-08-06

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


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.

Thursday, August 8, 2019

Nicolas Flamel on Screen

The recent film Fantastic Beasts: The Crimes of Grindelwald (2018) continues to develop the Wizarding World of J. K. Rowling and marks the first full appearance of Dumbledore’s associate, Nicolas Flamel. The character is based on a historical figure (c. 1340-1418) and first referenced in Harry Potter and the Philosopher’s Stone in 1997. In the film, Flamel is a wizard-alchemist living in Paris, six-hundred years old, and semi-retired but, as the climax of the film reveals, still capable of powerful magic.

Flamel features briefly in the following trailer for the film at 1:09, and the climax is very quickly teased at 1:52 :

Tuesday, July 30, 2019

CFP Doing Women’s Film and Television History V: Forming Histories/Histories in Formation (10/11/19; Ireland 5/20-22/2020)

Of potential interest:

Doing Women's Film & Television History 5
Discussion published by Elif Sendur on Thursday, July 25, 2019  

Doing Women’s Film and Television History V: Forming Histories/Histories in Formation


20th-22nd May, 2020, Maynooth University, Maynooth, Co. Kildare, Ireland

Keynote: Kasandra O’Connell, Irish Film Archive

 The fifth biennial Doing Women’s Film & Television History conference invites proposals from researchers and practitioners engaged in the exploration, uncovering, archiving and dissemination of women’s roles in film and television, as well as wider media, both in the past and today. The theme of this conference - ‘Forming Histories/ Histories in Formation’ – aims to foreground issues pertaining to the production, curation and archiving of women’s histories in film and television as well as the methods for, and approaches to, producing and shaping these histories as they form. More particularly, much can be learned from the diversity of practices, experiences and narratives of women’s film and television history as they pertain to:  national, transnational, world and global histories; neglected, peripheral or hidden histories; organisations such as museums, archives and universities; collectives, groups and movements such as #MeToo; local communities and community media; emergent forms and platforms; and historical approaches to women’s reception of film and television as well as historicising current practices and experiences of reception, fandom and consumption.

This three-day conference casts the net wide so that it can capture a range of experiences, practices, industries, nationalities and voices that are situated in relation to women and their histories. The conference provides a platform for those working in and researching film, television and media more generally as well as those invested in the production of these histories and narratives of the past and as they materialise. 

We invite papers that can provide added richness to the theme of ‘Women in Film & Television,’ and are, in addition, especially interested in the following areas:

  • International and comparative perspectives on women in film and television
  • Histories of women’s creative practice, production and technical work and film/cinema and television work more generally in various national, regional, or local contexts; transnational film and television; migration and diasporas
  • Approaches to histories of women’s indigenous production, including Third Cinema and grassroots film and television production
  • Representations of women in historical film and television
  • Female audiences, reception, fandom of film and television
  • Considerations of methodological and theoretical approaches to the study of women in film and television and their audiences
  • Archival research methods and approaches including feminist archiving practices
  • Use of recently established or historically neglected women’s media archives
  • Artefacts and ephemera in women’s archives: moving image, photographic and digital media, scripts, merchandise, etc. 
  • Considerations of how gender intersects with race, class, ethnicity, in relation to film and television production, reception or representation
  • Revisiting production and labour through the lens of #MeToo and #TimesUp, including historical formations of, and historicising, such movements
  • Changing meanings of women and womanhood as reflected and shaped by the interventions of women in film and television as producers, critics, and campaigners.
  • Teaching women’s film and television history; feminist pedagogies; the politics of education and training; women’s experiences of moving from education to employment in film and television
We welcome papers on subjects outside of these areas and that enhance the interpretations and meanings of ‘Doing Women’s Film & Television History.’

Please submit proposals of 250 words along with the paper’s title and a 50-word biography. Presentations should be no longer than 20 minutes, including clips and images. We welcome pre-constituted panels of three to four presenters (with panel title and abstract of 150 words), proposals for roundtables or workshops and presentations from researchers, practitioners, creatives and industry professionals. Deadline for proposals Oct 11th 2019. Email: dwfthv@gmail.com

We are pleased to make available a number of bursaries for Irish and international postgraduate students, early career researchers (within one-year of permanent contract) and those on part-time or zero-hour contracts. These will help support travel and accommodation to the conference. In order to apply, please submit to dwfthv@gmail.com a 250-word abstract along with a 300-word statement that includes: an indication of the relevance of your paper to the conference themes; reference to the intended output of the research; details of your current employment/student status. The deadline is Oct 11th 2019 and please use “Bursary application” in the subject line.

Hosted by

Department of Media Studies, Maynooth University

Women’s Film and Television History Network- UK/Ire

Organising and programming committee

Mary Immaculate College, Limerick

Maynooth University

Queen’s University Belfast

University College Cork

University College Dublin

CFP Audiences and Paratexts (Issue of Cinephile) (9/15/19)

Of potential interest:

Elif Sendur's picture Discussion published by Elif Sendur on Thursday, July 25, 2019  0 Replies


Deadline for draft submissions: September 15th, 2019

Following popular application of Gérard Genette’s literary term “paratexts” to film, paratexts here signifies those peripheral items emerging from and encircling a primary (filmic) text. Critically, film paratexts mediate the relationship between audience and film by shaping reputations, expectations and adding meaning to its consumption. While traditional examples of film paratexts range from movie reviews to advertisements and promotional material, digital and cultural shifts have driven new iterations, shaping modern cinematic reception and engagement. This evolving influence of paratexts on film culture and consumption demands attention, aligning with calls for media literacy in response to this proliferation of technology.

Cinephile 14.1 aims to interrogate this shifting landscape by considering digital, cultural, or historical forces mediating film reception and film culture more generally. While audience and reception studies have flourished in recent decades (Janet Staiger; Barbara Klinger; Linda Williams) and paratextual analysis has rigorously investigated fanfictions and trailers (Henry Jenkins; Jonathan Gray; Chuck Tryon; Keith M. Johnston), analysis of the interrelation of paratexts and audiences in today’s technological landscape requires further investigation.

Cinephile 14.1: Audiences and Paratexts invites scholarship that thoughtfully expands beyond the screened object to consider the meaning and meaning-making roles of contextual and paratextual factors. Special preference will be given to papers discussing film, television, and motion picture media. Possible topics can include (but are not limited to) any of the following:

– Film reception and audience studies

– Internet film cultures: blogging, social media, etc.

– Streaming sites (Netflix, Amazon Prime, Mubi, Hulu, etc.), film culture and audience behaviours

– Technology and film-watching; interactive cinema, virtual reality, 4DX, Dolby Atmos, etc.

– Film promotion: advertisements, trailers and branding

– Cultural differences in film promotion, consumption, reception

– Fandom; fan-fiction, cosplay, fan content

– Reputation and reception; movie reviews, public discourse

– Marketing, endorsements and product placements as film promotion

We encourage submissions from graduate students, postdoctoral researchers, and established scholars. Papers should be between 2,000-3,500 words, follow MLA guidelines, and include a detailed works cited page, as well as a short biography of the author. Submissions should be directed toward SUBMISSIONS@CINEPHILE.CA and general inquiries toward INFO@CINEPHILE.CA.

Submissions are due by September 15, 2019.

Cinephile is the University of British Columbia’s film journal, published with the continued support of the Centre for Cinema Studies. Previous issues have featured original essays by such noted scholars as Lee Edelman, Slavoj Žižek, Paul Wells, Murray Pomerance, Ivone Marguiles, Matt Hills, Barry Keith Grant, K.J. Donnelly, and Sarah Kozloff. Since 2009, the journal has adopted a blind review process and has moved to annual publication. It is available both online and in print via subscription and selected retailers.

Incoming editor: Jemma Dash


Saturday, July 6, 2019

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

Now available for pre-ordering from McFarland:

Vikings and the Vikings: Essays on Television’s History Channel Series
Edited by Paul Hardwick and Kate Lister

Format: softcover (6 x 9)
Copyright Date: 2019
pISBN: 978-1-4766-7374-5
eISBN: 978-1-4766-3843-0
Imprint: McFarland
Not Yet Published

Vikings and the Vikings is an excellent and wide-ranging exploration of a television series which has more successfully summoned the world of the Vikings for modern audiences than any which has preceded it. From a range of critical viewpoints, the book explores the ways in which past and present representations of “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 for many viewers is 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 will appeal to fans of the show, Viking enthusiasts, and anyone with an interest in medievalism in the 21st century.

Paul Hardwick is a 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 communication 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.

Out Now: Medieval Art and the Look of Silent Film

McFarland has finally released Lora Ann Sigler's book Medieval Art and the Look of Silent Film: The Influence on Costume and Set Design. Full details follow.

Medieval Art and the Look of Silent Film: The Influence on Costume and Set Design
Lora Ann Sigler

Format: softcover (7 x 10)
Pages: 235
Bibliographic Info: 104 photos, appendices, glossary, notes, bibliography, index
Copyright Date: 2019
pISBN: 978-1-4766-7352-3
eISBN: 978-1-4766-3441-8
Imprint: McFarland

The heyday of silent film soon became quaint with the arrival of “talkies.” As early as 1929, critics and historians were writing of the period as though it were the distant past. Much of the literature on the silent era focuses on its filmic art—ambiance and psychological depth, the splendor of the sets and costumes—yet overlooks the inspiration behind these.

This book explores the Middle Ages as the prevailing influence on costume and set design in silent film and a force in fashion and architecture of the era. In the wake of World War I, designers overthrew the artifice of prewar style and manners and drew upon what seemed a nobler, purer age to create an ambiance that reflected higher ideals.


Acknowledgments v
Preface 1
Introduction 5
One—Setting the Stage 7
Two—Staging the Set 43
Three—The Web We Wove 65
Four—The Weave We Wore 103
Five—Taking It to the Seats 122
Six—Living It Up: In the Hills 136
Seven—Keep the Home Buyers Turning 143
Eight—More Play for Less Pay: Women
in Film Production 156
Epilogue: That’s About the Sum of It 173
Appendix A. Mechanization and the Aftereffects of World War I 181
Appendix B. Audrey Munson: The “Girl of Dreams” 184
Appendix C. Purveyors of Fantasy: Erté and Georges Barbier 186
Appendix D. Critical Wit: James Laver 192
Appendix E. Siegfried Kracauer, Lotte Eisner and the Rise of the Nazis Hypothesis 194
Glossary 197
Chapter Notes 201
Bibliography 215
Index 221

About the Author:

Lora Ann Sigler is professor emerita of art history at California State University. She lives in San Pedro, California.

Monday, April 15, 2019

CFP 2019 Literature/Film Association Annual Conference (5/15/2019; Portland 9/12-14/2019)

Literature/Film Association Annual Conference
Discussion published by Elif Sendur on Sunday, March 31, 2019


September 12-14, 2019

University of Oregon in Portland

Portland, Oregon, USA

Keynote: Amanda Ann Klein, East Carolina University and Matt McCormick, Gonzaga University

In holding this year’s conference in downtown Portland, one of the most environmentally conscious cities in the United States, we invite attendees to consider the themes of “repurpose” and “recycle,” broadly conceived. What function—socially, politically, and economically—do sequels, remakes, and reboots serve in media culture? How do reboots and remakes allow creators and audiences to not only revisit, but reimagine familiar narratives? What historical precedents might we return to in our attempts to better understand the nature and influence of series, serials, and (trans)media franchises today? And how might adaptation studies play a vital role in these critical discussions? While we welcome papers on any aspect of adaptation studies, we are especially interested in presentations that address one or more of the following concerns (or similar topics):

  • transmedia storytelling
  • media franchising
  • recombinant culture
  • questions of authorship
  • film genres and genre cycles
  • economic and industrial perspectives on remakes
  • rebooting television series
  • evaluating sequels, remakes, and reboots
  • the question of originality and artistry in adaptation
  • environmental media and ecocritical perspectives
  • ecocinema and ecomedia
  • media and the anthropocene
  • historical precedents in series, serial, and franchise storytelling
  • formalist and narratological approaches to series, serial, and franchise storytelling
  • narrative extensions into new media, including video games
  • the impact of #OscarsSoWhite and #MeToo on reimagining adaptation
  • teaching adaptation

The LFA also welcomes work in media studies, more broadly. We have significant interest in broader 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.

Amanda Ann Klein, our keynote speaker this year, is Associate Professor of Film Studies in the English Department at East Carolina University. She is the author of American Film Cycles: Reframing Genres, Screening Social Problems, & Defining Subcultures(University of Texas Press, 2011) and co-editor of Multiplicities: Cycles, Sequels, Remakes and Reboots in Film & Television (University of Texas Press, 2016). Her manuscript, Identity Killed the Video Star: A Cultural History of MTV Reality Programming, is under contract with Duke University Press. Her scholarship has appeared in Quarterly Review of Film and Video, Jump Cut, Film Criticism, Flow, Antenna, Salon, The Atlantic, The Chronicle of Higher Education, Inside Higher Ed, and The New Yorker.

Matt McCormick has for many years been a key figure in the Portland art and film scene and is currently Assistant Professor of Integrated Media & Art at Gonzaga University in Spokane, WA. Matt’s work crosses mediums and defies genre distinctions to fashion witty, abstract observations of contemporary culture and the urban landscape. His films, which include The Subconscious Art of Graffiti Removal, Some Days Are Better Than Others, The Great Northwest, and Buzz One Four, have screened in venues ranging from the Sundance Film Festival to the Museum of Modern Art, and have been critically acclaimed by The New York Times, Art Forum, and many other media outlets. Matt has also directed music videos for bands including The Shins, Sleater-Kinney, and Broken Bells.

Please submit your proposal via this Google Form by May 15, 2019. If you have any questions or concerns, contact Pete Kunze at litfilmconference@gmail.com. Accepted presenters will be notified by June 1.

All sessions will be held at the University of Oregon in Portland, located at 70 NW Couch St. in downtown Portland. Limited travel grant support is planned to be available for select graduate students, non-tenure-track faculty, and/or independent scholars and artists. Details for an added application process for such support will be shared following proposal acceptances.

The conference registration fee is $200 ($150 for students and retirees) before August 1, 2019 and $225 ($175 for students and retirees) thereafter. All conference attendees must also be current members of the Literature/Film Association, and all presenters must be registered by September 1 to appear on the final conference program. Annual dues are $20. To register for the conference and pay dues following acceptance of your proposal, visit the Literature/Film Association website at http://litfilm.org/conference and use our PayPal feature.

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 www.salisbury.edu/lfq.