CFP Between Screens: Video Games, Film, Television and Transmedia Exchange (8/7/2026)

Of potential interest:

Between Screens: Video Games, Film, Television and Transmedia Exchange

deadline for submissions:
August 7, 2026

full name / name of organization:
Dr Michael Samuel (University of Bristol) and Dr Richard Cole (University of Bristol)

contact email:
mike.samuel@bristol.ac.uk

source: https://call-for-papers.sas.upenn.edu/cfp/2026/06/25/between-screens-video-games-film-television-and-transmedia-exchange

Between Screens: Video Games, Film, Television and Transmedia Exchange

Edited by Dr Michael Samuel and Dr Richard Cole

Adaptation is a dialogic process, a creative exchange across content production and context rather than an attempt at fidelity. Recent trends in adaptation studies reflect this complexity. Videogames exist within a vast ecosystem of transmedia storytelling and experiences, yet scholarship on adaptation and video games remains limited.

This collection is a response to this gap. Our aim with Between Screens is to reframe the conversation about the relationship between videogames and other screen media, inviting approaches that emphasise the adaptive process and illuminate the formal, narratological, technological, industrial and cultural dimensions of transmedia adaptation. How do stories and characters, mechanics, aesthetics and meanings transform as they move between videogames and other media? How do adaptive practices acknowledge or resist these differences? What role do intellectual property, industrial consolidation and transmedia marketing play in shaping adaptive choices and audience experiences? What theoretical frameworks can help us move further beyond fidelity criticism? How can we better understand adaptation as a two-way process that reveals broader truths about media convergence, storytelling possibilities, and the evolving nature of entertainment industries? These are just a flavour of the questions this collection will address.

At this stage, we are prioritising submissions that address the following topics:

1. Histories of game adaptation — How have adaptation practices evolved from early arcade games and home console ports to contemporary transmedia franchises that start or end with games?
2. Narrative and mechanical translation — How do narrative structures, game mechanics, and interactive elements translate (or resist translation) across media?
3. Aesthetic and stylistic adaptation — What is the relationship between visual design, sound design, cinematic language, and ludic form?
4. Industrial and economic factors — How have studios, licensing agreements, and IP ownership shaped adaptive decisions?
5. Gender, representation, and adaptation — How does adaptation shape or reshape character representation, narrative arcs, and thematic content?
6. Transmedia franchises and worldbuilding — The role of adaptation in constructing interoperable fictional worlds across multiple platforms
7. Audiences and reception — How do fans, critics, and players interpret and engage with adapted works across media?

Please email a chapter abstract (300-500 words) and a brief author biography (100 words maximum) to Dr Michael Samuel (mike.samuel@bristol.ac.uk ) and Dr Richard Cole (Richard.Cole@bristol.ac.uk) by 7 August 2026. In your email, please indicate which topic/question from above that your proposed chapter will address. The book proposal is currently under consideration by Palgrave. We therefore anticipate that final chapters will be between 6,500 and 8000 words (including notes and references). All submissions must be original, previously unpublished work. Please use Harvard in-text referencing formatting for citations. Please include the subject line ‘Between Screens’ with your email.
If you have any further questions, please don’t hesitate to contact us (email both of us).

Editor Bios
Dr Michael Samuel is Senior Lecturer in Digital Film and TV Studies and co-director of the Bristol Digital Game Lab at the University of Bristol.
Dr Richard Cole is Senior Lecturer in Digital Futures and co-director of the Bristol Digital Game Lab at the University of Bristol.


Last updated June 25, 2026

CFP Disney and the Middle Ages collection (7/15/2022)

Apologies for cross-posting;

Disney and the Middle Ages

source: https://call-for-papers.sas.upenn.edu/cfp/2022/06/06/disney-and-the-middle-ages

deadline for submissions:
July 15, 2022

full name / name of organization:
Christina M. Carlson, Mariah L. Cooper, and Joshua Parks

contact email:
disneymedievalvolume@gmail.com



Call for Papers

Edited Volume on Disney and the Middle Ages



We invite proposals for an edited collection of essays on medievalism in Disney media for Brepols’ new series Reinterpreting the Middle Ages: From Medieval to Neo. The Walt Disney Company's films, theme parks, and merchandise are full of people, places, and things coded as “medieval,” and because Disney's medievalism is often coded as white and Christian, it is especially relevant to medieval studies' ongoing struggle with white supremacy within and outside the field.



We encourage authors to consider the role of the Walt Disney Company in shaping popular perceptions of the Middle Ages, as well as the function of medievalism in Disney’s ideological projects. How does Disney’s medievalist media represent gender, race, religion, disability, and other features of medieval life? What do those representations reveal about modern life as seen and shaped by Disney?



We welcome submissions from a wide variety of disciplines including literary studies, history, religious studies, gender studies, musicology, art history, and film studies. Critical perspectives such as ecocriticism, animal studies, queer theory, critical race studies, disability studies, material culture, and postcolonial theory are also encouraged. In addition, we welcome submissions from non-medievalist scholars with expertise in twentieth- and twenty-first-century media and culture.



Proposals of 300 to 500 words should be submitted by email to disneymedievalvolume@gmail.com by Friday July 15, 2022. We aim to notify authors about accepted submissions by September 1, 2022. We have been invited to submit this collection for publication in Brepols’ new series Reinterpreting the Middle Ages: From Medieval to Neo.



Please write to the above email address with any questions, or contact Christina M. Carlson (cmcarlson@iona.edu), Mariah Cooper (mlcooper@mun.ca), and/or Joshua Parks (joshua.t.parks@gmail.com).


We look forward to hearing from you.




Last updated June 7, 2022
This CFP has been viewed 19 times.

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

Of potential interest:

CINEPHILE 14.1 "AUDIENCES AND PARATEXTS"
Elif Sendur's picture Discussion published by Elif Sendur on Thursday, July 25, 2019  0 Replies
CINEPHILE 14.1 | AUDIENCES AND PARATEXTS | CFP

 https://networks.h-net.org/node/14467/discussions/4352585/cinephile-141-audiences-and-paratexts

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



http://cinephile.ca/

CFP Shakespeare and Digital Humanities (Spec Issue of Humanities) (proposals by 9/14/2018)

Of potential interest:

Special Issue "Shakespeare and Digital Humanities: New Perspectives and Future Directions"
https://call-for-papers.sas.upenn.edu/cfp/2018/06/18/special-issue-shakespeare-and-digital-humanities-new-perspectives-and-future

deadline for submissions:
January 28, 2019

full name / name of organization:
Humanities (ISSN 2076-0787).

contact email:
stephen.oneill@mu.ie


Shakespeare is now fundamentally digital. The technologies, resources and cultures of the digital age influence how we humans variously read, watch, research, and teach Shakespeare. This influence occurs in both apparent but also unseen ways since digital technologies include hidden processes, or non-human actors such as algorithms. In fact, the thing we call “Shakespeare” is the consequence of the interaction of agential humans and digital, non-human actors. The Special Issue of Humanities explores this technogenic dynamic and its significance for understandings of Shakespeare’s works and their cultural afterlives. It does so from a digital humanities perspective, with the aim of building on trends within Shakespeare studies towards the interrelation between Shakespeare’s works and a variety of contemporary technologies.

The Special Issue especially welcomes approaches that are trans-disciplinary.

• Papers are invited from an international community of researchers interested in critically examining how digital technologies have enhanced, transformed, or challenged the appreciation and study of Shakespeare. 
• Papers might address questions of methodology, and explore how digital humanities scholarship is applying technology and quantitative analyses to the corpus. What new insights into Shakespearean authorship, characterization, genre, and language, can computational analyses reveal? 
• Papers might map and critically evaluate the available digital resources for Shakespeare research and teaching, including searchable text online editions, databases, and podcasts. Or, they might critically analyse forms and practices in digital cultures, from fan or vernacular productions that reiterate Shakespearean stories and characters on such platforms as Twitter and YouTube, to digital art and curation, and online Shakespeare quotation generators. 
• In turn, papers might examine how Shakespeare theatre companies are using digital technologies both within the live performance itself, and also to create an online, commercial, and interactive presence for a production.

This Special Issue of Humanities offers an opportunity to examine the application of digital technologies to Shakespeare, in all its variety; to explore the implications of that interrelation; and, crucially, to consider what future directions scholarship and practices might take as the encounter with Shakespeare increasingly becomes digital.


Please submit 300 word proposals for original contributions and a 100-word biography (include selected publications) by 14 September 2018; email both the Guest Editor, as indicated above, and the journal (humanities@mdpi.com).

Deadline for completed papers, if selected (5000–7000 words): 28 January, 2019

Dr. Stephen O’Neill
Guest Editor


Further Information here:http://www.mdpi.com/journal/humanities/special_issues/Shakespeare

CFP You Win or You Die: Performances of Gender, Death, and Power in Game of Thrones (10/1/2017)

You Win or You Die: Performances of Gender, Death, and Power in Game of Thrones
https://call-for-papers.sas.upenn.edu/cfp/2017/08/03/you-win-or-you-die-performances-of-gender-death-and-power-in-game-of-thrones

deadline for submissions: October 1, 2017

full name / name of organization: Lindsey Mantoan, Linfield College

contact email: lmantoan@linfield.edu


CALL FOR PROPOSALS

for a new anthology

You Win or You Die: Performances of Gender, Death, and Power in Game of Thrones


Called “the world’s most popular show” by TIME magazine, Game of Thrones has changed the  landscape of serial narrative during an era hailed as the New Golden Age of TV. While an adaptation of George R. R. Martin’s epic fantasy A Song of Fire and Ice, the television show has taken on a life of its own, including creating original plotlines when the story advanced past the books that Martin has published.

With the death of protagonist Ned Stark at the end of Season One, Game of Thrones launched a killing spree in television: major characters die on popular shows every week now (for an excellent analysis of this trend and a demographic breakdown of who’s getting killed off, see https://www.vox.com/2016/6/1/11669730/tv-deaths-character-best). While many shows kill off major characters for pure shock value, death on Game of Thrones produces seismic shifts in power dynamics and resurrected bodies that continue to fight on in war.

War in early seasons is solidly the purview of men, but by Season Six, women are literally and figuratively changing the battlefield, overthrowing the men who have dominated and controlled them, and vying for thrones. For a show that’s been accused of mishandling rape, using it for titillation and voyeurism rather than condemning it, the writers seem to be playing a different game with female characters as the narrative rushes toward its conclusion.

The complex dynamics of how gender, death, and power are performed in Game of Thrones warrants rigorous analysis by scholars in performance and media studies and beyond. Our proposed anthology will be divided into overlapping sections on gender, death, power, and performance.

Possible topics include:

GENDER

- What kinds of performances of masculinity and femininity do we see in this show?

- Women as nurturers, women as vengeful assassins, women as queens

- Dany’s retinue includes two eunuchs and a dwarf, and by the time she arrives in Westeros, none of her closest advisors are alpha males. What does this say about gender and power?

- How does the show handle hypermasculinity?

- Jon Snow’s hair

- Sansa’s fantasies of marrying a prince, and her harsh realities

- The men who manipulate Cersei, and the way she takes her revenge

- The Sand Snakes and the trope of desert people being hypersexualized and violent

- Yara, Brienne, The Waif, and female masculinity

- Arya, marrying a nobleman, and “that’s not you”

- Gender, politics, and regionalism: how do politics and gender intersect differently north of the wall, in Dorne, in the rest of Westeros, and across the sea?

- What’s the significance of the men of the Night’s Watch swearing a vow of chastity, and why does Jon Snow get away with breaking it so easily? Why does Sam?

- Does the narrative critique the characters’ misogyny enough, or reify it?

- Motherhood (Cersei’s incestual children are all dead, Dany’s children are dragons)

- Sam’s gentle demeanor and academic nature


DEATH

- What does the show seem to say about death, given that for so many characters, death is not the end?

- What is the distinction between alive and not?

- What do the narrative’s rituals related to death say about its values?

- Wights as zombies

- The distinction between White Walkers and their army of wights

- The relation between those resurrected by Red Priests/Priestesses and those resurrected by ice

- How does death often lead to new life or new dynamics of power (dragons, killer zombies, a king)

- “In the light of the seven,” “the night is dark and full of terrors,” “what is dead may never die,” and religion’s disposition toward death and resurrection

- Religion used to fight zombies and create them

- Arya’s list

- Supernatural and Faceless men, Three-Eyed Raven


POWER

- What’s the show’s attitude toward war and violence?

- How does the show represent war?

- How does the show braid together issues of gender, violence, power, and war?

- Endless war

- Religion used as a weapon, a justification for violence, a political tool

- White trash (Freys, Greyjoys) and inbreeding

- The dynamics of color; ethnicity and race; rehearsal of Western hegemony under a slightly different name

- How does the show use accents to imply power and authority

- New languages--who speaks which language(s) and how does language interact with power?

- Low / no-tech world, pre-industrial society--does that give the show a pass on contemporary values?

- The above ideas relate to power within the narrative, but what about the power of this TV show? HBO’s budgets are some of the highest per episode of any television show in history, and GoT has influenced not only serial television but also films and novels. What kind of cultural and industry power does the show wield?


PERFORMANCE and REPRESENTATION

- Performances of gender, sexuality, and power

- What gets performed around the show—fandom, social media, criticism, ComiCon, cosplay, watching parties

- The performance of the actors

- How do characters perform nobility, authority, power, family?

- Theater has a powerful impact on Arya Stark--how and why?

- The show has been criticized for the way it represents: sex, love, romance, same-sex intimacy, race, and violence. How are these criticisms apt? What do these criticisms miss?

- What stereotypes does the show trade in, especially in conflating region, geography, accent, class, and race?



Please submit 300-word abstracts to Lindsey Mantoan (lmantoan@linfield.edu) and Sara Brady

(Sara.Brady@bcc.cuny.edu) by Oct 1, 2017.


Last updated August 4, 2017