Saturday, September 7, 2019

CFP MEARCSTAPA at Kalamazoo 2020 (proposals by 9/15/19)

MEARCSTAPA is still seeking presenters for the following panels. Proposals are due 9/15/19.


Xenophobia and Border Walls: Monstrous Foreigners and Polities

Kalamazoo 2020

Co-sponsors: MEARCSTAPA and Société Rencesvals, American-Canadian Branch

Organizers: Asa Simon Mittman and Ana Grinberg

Who is that knight, threatening “our” town walls? Why are they roaming outside, besieging “our” castle? What shall we do with all these [Jewish], [Muslim], [Saracen], [Genoese], [pilgrim] people coming to this area, “robbing us of our jobs” and taking up our lands? As Jeffrey Cohen writes, “all the familiar stereotypes about foreigners,medieval and modern, find their place here: they make too much noise, they smell bad, they eat repulsive foods, their excess is disgusting” (emphasis added). Our current political environment makes these ideas more pressing, as xenophobia runs rampant and walls are (re)built.

Medieval and early modern representations of foreigners as a threat are not that different from our own. With this in mind, MEARCSTAPA and Société Rencesvals invite papers delving into pre- and early modern representations of contacts between cultures, races, religions, and even species from diverse disciplines and methodological approaches. Of particular interest are constructions of monstrosity in chivalric epic and romances.

Please send abstracts of no more than 250 words together with a completed Participant Information Form to session organizers Ana Grinberg ( or Asa Simon Mittman ( by September 15. Please include your name, title, and affiliation on the abstract itself. All abstracts not accepted for the session will be forwarded to Congress administrators for consideration in general sessions, as per Congress regulations.

Keywords: Foreigners, othering, stereotypes, xenophobia, political climate


Taking Shape: Sculpting Monsters

Kalamazoo 2020


Organizers: Mary Leech and Asa Simon Mittman

For centuries, the actions of monsters were more important that what the monsters looked like. Some monsters were given more specific descriptions than others, yet monstrosity was often based on Otherness, such as deformity, threatening animals, gender, or foreigners. As time goes on, many monsters take on more precise shapes based on the exaggerated physical conceptions of difference. By exploring how monsters take on specific shapes, this panel will analyze the ways in which specific fears (and desires) can create specific physical features.

The panel will be most effective with a range of methodologies and fields. While literary descriptions are often the base of how monsters are perceived, folkloric traditions that predate writing influence literary traditions. Works of history contain aspects of monstrosity, either literally or in how certain groups are described. Artistic renderings of monsters can also highlight the variety of interpretations of monstrosity. How and why monsters are formed, both as a concept and as a physical threat, has relevance across fields and eras. The panel should appeal to many areas of scholarship, particularly those that explore how gender, sexuality, and physical disabilities are presented as fearsome and monstrous.

Please send abstracts of no more than 250 words together with a completed Participant Information Form to session organizers Mary Leech ( or Asa Simon Mittman ( by September 15. Please include your name, title, and affiliation on the abstract itself. All abstracts not accepted for the session will be forwarded to Congress administrators for consideration in general sessions, as per Congress regulations.

Keywords: Monster, gender, disability, Other, folklore


Adorable Monsters in Medieval Culture (Roundtable)

Kalamazoo 2020


Organizers: Mary Leech, Tina Boyer and Asa Simon Mittman

Medieval Monstrosity is usually conceived as something that is physically dangerous or repulsive, often both. What happens when the monster is not physically dangerous, or is attractive? For example, when the loathly lady becomes beautiful, is she no longer dangerous? Is the threat she represented gone? Manuscript marginalia has many images of rabbits, dogs, goats, and adorable hybrid monsters engaging in violent behavior. What do images of domestic animals and otherwise delightful creatures possibly have to say about monstrosity in humans? By exploring monstrosity with attractive exteriors, this discussion will seek to analyze the hidden nature of monstrosity.

The panel will be most effective with a range of methodologies and fields. While literary descriptions are often the base of how monsters are perceived, folkloric traditions that predate writing influence literary traditions. Works of history contain aspects of monstrosity, either literally or in how certain groups are described. Artistic renderings of monsters can also highlight the variety of interpretations of monstrosity. Ideally, this panel will have participants from several different fields. The wider the range of participants, the more interesting the discussion will be for potential audience members.

Please send abstracts of no more than 250 words together with a completed Participant Information Form to session organizers Tina Boyer (, Mary Leech (, or Asa Simon Mittman ( by September 15. Please include your name, title, and affiliation on the abstract itself. All abstracts not accepted for the session will be forwarded to Congress administrators for consideration in general sessions, as per Congress regulations.

Keywords: cuteness, monsters, animals, gender, manuscript.

Friday, July 12, 2019

CFP Fantasy, Horror, and the Supernatural (7/19/19; PAMLA 2019)

Please note the impending deadline:

Fantasy, Horror, and the Supernatural

deadline for submissions: July 19, 2019
full name / name of organization: Kate Watt / PAMLA
contact email:

From golems to Gollum, ghosts to Ironman, hobbits to succubi, zombies to dopplegangers, the possessed to those who wield the dark arts, the not-human, the almost-human, the was-human, the wants-to-be-human, the beyond-human, and those who use unknown powers to prey on humans have populated human culture and narrative from the beginning. Analysis from any critical perspective, exploring texts drawn from literature, film/TV, graphic novels, manga, comics, visual arts, and elsewhere, is welcome.

Us, Get Out, The Walking Dead, Cthulhu, It, and a wide variety of other texts would be appropriate topics.

Please submit through the website directly.

PAMLA is in San Diego, November 14-17, 2019.

Last updated July 11, 2019

CFP Interdisciplinary Interrogations of the SyFy Original Films (10/31/19)

CFP: Essays on SyFy Channel Original Films

deadline for submissions: October 31, 2019
full name / name of organization: Justin Wigard and Mitch Ploskonka, Michigan State University
contact email:

Call for Chapters -- Interdisciplinary Interrogations of the SyFy Original Films

Edited by Justin Wigard and Mitch Ploskonka

This collection’s goal is to devote critical attention to an understudied avenue of popular culture: Sci-Fi/SyFy Channel’s original films. Since 2002, Sci-Fi/SyFy Channel’s production company, Sci-Fi Pictures, has created over 200 original films, spawning such franchises as the Sharknado and Lavalantua series alongside cult/fan favorites like Ghost Shark, Ice Spiders, and Mongolian Death Worm. Sharknado’s release in 2013 saw unprecedented popularity for one of SyFy’s creature feature films, correlating to a meteoric rise in popularity of not just the recently-minted Sharknado franchise, but SyFy’s feature films as a whole.

This book, published by McFarland & Co., seeks interdisciplinary approaches to understanding, contextualizing, and interrogating these SyFy films, in order to make sense of their position within popular culture. We are also interested in submissions that highlight interesting, surprising, and overlooked connections to/from the SyFy original films.

The editors are seeking proposals for essays dealing with all aspects of Syfy original films. Potential topics can include but are not limited to the following:

  • Monstrosity as it manifests within the SyFy creature films.
  • SyFy’s “Sharknado week” and other cross-channel interactions
  • Issues of race, gender, and sexuality in SyFy films
  • SyFy films and transmedial properties (video games, board games, comics, “field guides,” etc.)
  • Ecocriticism, particularly regarding environmental disaster films
  • Audience reception, cult film status, and fandom
  • Critical examination of SyFy film series (Sharknado, Mega Shark, Lavalantula, etc.)
  • Historical contextualization of the SyFy films
  • Humor, metatextuality, and/or seriousness within the SyFy films

Please submit a 250-500 word abstract (with brief author bio and affiliation) by October 31, 2019 to Justin Wigard ( and Mitch Ploskonka ( If a proposal is accepted, essays of 5,000-6,000 words will be due February 28, 2020. Final approval for inclusion in the book will be April 30, 2020.

Last updated July 10, 2019

CFP American Gothic Domesticity: Blissful Misery (9/30/19; NeMLA 2020)

NeMLA Panel: American Gothic Domesticity: Blissful Misery

deadline for submissions: September 30, 2019
full name / name of organization: NeMLA 2020
contact email:


Danielle Cofer (University of Rhode Island)

Caitlin Duffy (SUNY Stony Brook University)

Leslie Fiedler describes American fiction as “bewilderingly and embarrassingly, a gothic fiction… in a land of light and affirmation.” This panel pushes past Fiedler’s focus to instead explore the dark and enclosed spaces of the American home. These sites are featured in countless texts, from Edgar Allan Poe’s “The Fall of the House of Usher” (1839), to Harriet Jacobs’s Incidents in the Life of a Slave Girl (1861), and beyond, to 21st-century films like Ari Aster’s Hereditary (2018). To better understand the role played by fictionalized domestic spaces in constructing American identity, our panel will yoke together gothic and sentimental theory and literature. Lora Romero’s remapping of literary landscapes challenges perpetual binarisms of the nineteenth-century by locating domesticity not only in the middle-class home, but also in the frontier. This panel adds to this work by further emphasizing the influence of domesticity in constructing American character.

This panel invites papers interrogating gothic depictions of domestic spaces in American fiction (including, but not limited to, literature, film, and television). Papers utilizing gothic and sentimental literature to support, challenge, or problematize conceptions of what qualifies as ‘home’ are especially welcome. We also encourage papers that explore the American home’s representation temporally by tracing transformations or continuations of its fictional appearance across time. Can home spaces be conceived of as racialized or gendered, and how might play between the inside/outside binary allow for new modes of thinking about the home and identity politics? In what ways can we problematize the fixity of home to include the sea and the expanding frontier? How are notions of selfhood and home inherently linked or radically redefined through genre?

Please submit abstracts of 300 words or less by September 30, 2019 through the NeMLA portal:

The 51st annual NeMLA conference will take place on March 5-8, 2020 in Boston, MA. For more information:

Please email any questions you may have to either or

Last updated July 12, 2019

CFP Indigeneity and Horror (Conference Panel) (7/31/19; SCMS 2020)

Do note the impending due date:

SCMS Panel: Indigeneity and Horror

deadline for submissions: July 31, 2019
full name / name of organization: Murray Leeder
contact email:

In his classic essay “An Introduction to the American Horror Film,” Robin Wood establishes the basic formula of the horror film as “normality is threatened by the monster.” He subsequently mentions that if one were to “substitute for ‘Monster’ the term ‘Indians’ . . . one has a formula for a large number of classical Westerns.” Wood’s point is to establish the flexibility of his framework but it also points in another direction: the monstrousness of the idea of Indigeneity within the colonial mindset. Today, one of the most exciting growing areas in horror cinema at the moment comes from Indigenous persons. In Canada, Jeff Barnaby (Mi’gmaq) will soon release Blood Quantum (2019), a zombie film set on the same reserve as his earlier Rhymes for Young Ghouls (2013) -- which Scott Pewenofkit has suggested “may be the first truly Indigenous horror film,” dipping as it does into the representational space of the horror film (the zombie film, especially) to allegorize the real-life, genocidal horrors of the residential school system.

Only recently has scholarship emerged on distinctly Indigenous horror and Gothic literature and film; examples include Joy Porter’s chapter in The Palgrave Handbook to Horror Literature (2018), Ariel Smith’s article “This Essay Was Not Built On an Ancient Indian Burial Ground” (2014) and Gail de Vos and Kayla Lar-son’s contribution to The Horror Companion (2019). This panel asks: how does Indigenous horror contribute to or even challenge our understanding of the horror genre and of horror theory?

We seek papers for the 2020 SCMS conference in Denver. Topics may include:

  • Particularities of different settler-colonialist nations (Canada, the United States of America, New Zealand, Australia, etc.) and their film industries
  • The monster as a figure of Othering vs. a figure of resistance
  • The relationship of Indigenous horror literature and film
  • Reinterpretations of classic horror narratives are ripe for revisiting through the lens of Indigeneity
  • Indigenous spins of familiar horror figures (vampire, zombie, werewolf, ghost, etc.), and conversely, settler appropriation of folkloric figures like the Wendigo
  • Cycles of horror production that have favoured Indigenous characters and themes (e.g. ‘70s eco-horror)
  • Genre hybridity (the Western, science fiction, fantasy, magic realism, drama, comedy, romance, etc.)
  • Film festivals, funding structures, etc.

Please submit a title, an abstract (max. 2500 characters), a bio (max. 500 characters), and 3–5 bibliographic sources to and by August 1. Responses will be given by August 13.

Murray Leeder holds a Ph.D. from Carleton University and is a Research Affiliate at the University of Manitoba. He the author of Horror Film: A Critical Introduction (Bloomsbury, 2018), The Modern Supernatural and the Beginnings of Cinema (Palgrave Macmillan, 2017) and Halloween (Auteur, 2014), as well as the editor of Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era (Bloomsbury, 2015) and ReFocus: The Films of William Castle (Edinburgh University Press, 2018), as well as numerous articles and book chapters.

Gary D. Rhodes currently serves as Associate Professor of Film and Mass Media at the University of Central Florida, Orlando. He is the author of Emerald Illusions:  The Irish in Early American Cinema (IAP, 2012), The Perils of Moviegoing in America (Bloomsbury, 2012), and The Birth of the American Horror Film (Edinburgh University Press, 2018), as well as the editor of such anthologies as Edgar G. Ulmer:  Detour on Poverty Row (Lexington, 2008), The Films of Joseph H. Lewis (Wayne State University, 2012), and The Films of Budd Boetticher (Edinburgh University Press, 2017). Rhodes is also the writer-director of such documentary films as Lugosi: Hollywood's Dracula (1997) and Banned in Oklahoma (2004).  Forthcoming from Edinburgh University Press is the monograph Consuming Images:  Film Art and the American Television Commercial, coauthored with Robert Singer.

Last updated July 11, 2019

Tuesday, July 9, 2019

CFP ReFocus: The Films of Sam Raimi (12/1/19)

ReFocus: The Films of Sam Raimi

deadline for submissions: December 1, 2019
full name / name of organization: University of Edinburgh Press
contact email:

Call for Papers

ReFocus: The Films of Sam Raimi

Sam Raimi was a fan of cinema since his earliest years and before he was ten years old, he was making movies with an 8mm camera. From Within the Woods (1978), the short that led to The Evil Dead (1981) and the ongoing saga of Ash (Bruce Campbell), to such genre-bending and genre-transcending work as The Quick and the Dead (1996), A Simple Plan (1998) and For Love of the Game (1999) to the Spider-Man trilogy (2002, 2004, 2007), which predate the MCU yet set the tone for the films to come, Raimi has demonstrated himself to be a versatile and inventive director, knowledgeable in genre, style, form, and cinema history.

We are currently soliciting abstracts of approximately 100 words for essays to be included in a book-length anthology on Sam Raimi’s cinema to appear in 2021.  As this volume will be the first comprehensive study in English of all of Raimi’s work through Ash vs. Evil Dead, this collection seeks to contextualize, problematize and theorize his entire canon, with a desired focus on his underrepresented films.  Essays may focus on a single film, group of films, themes and topics that pervade his work, his television directing or influence.

Essays accepted and included in the refereed anthology should be approximately 6,000 to 7,000 words referenced in Chicago endnote style.

The Films of Sam Raimi will be a scholarly volume published in the University of Edinburgh’s ReFocus series, examining American film directors.  Series editors are Robert Singer, Gary D. Rhodes, and Frances Smith. ReFocus features a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of the work of these American directors, from the once-famous to the ignored, in direct relationship to American culture --its myths, values, and historical precepts.

Please attach a curriculum vitae and abstract and email by December 1, 2019 to both editors:

Kevin J. Wetmore, Jr.

Ron Riekki

Last updated June 5, 2019

CFP Things That Go Bump In The Night: Premodern Narratives and Depictions of Spirit Visitation (9/1/19; IMC Leeds 2020)

Things That Go Bump In The Night: Premodern Narratives and Depictions of Spirit Visitation

deadline for submissions: September 1, 2019
full name / name of organization: MEARCSTAPA
contact email:

Things that go Bump in the Night: Premodern Narratives and Depictions of Spirit Visitation

IMC Leeds 2020


Organizers: Asa Simon Mittman and Thea Tomaini

MEARCSTAPA seeks papers for the 2020 International Medieval Congress at Leeds on the varietal experiences of spirit visitation in premodern narratives and art. In accordance with the conference theme of “Borders”, we are especially concerned with liminal spaces and states of being. In contemporary ghost narratives there is a clear distinction between spirits of the dead who communicate with the living directly (by appearing in the material world to a human being who is awake and alert) and those who communicate with the living indirectly (by appearing in dreams to people who are asleep, or in visions to people who are in a trancelike state). In medieval and early modern literature, art, and theological narratives about spirits of the dead, this distinction is far less clear. Waking experiences in premodern narratives indicate the same sense of validation as non-waking experiences. The sensory reaction and emotional state of a person in the aftermath of a dream or vision (as in The Vision of Barontus) differs from that of a person (or people) experiencing the sensory shock of seeing, hearing, or speaking to a ghost in the material world, in real time (as in The Ghost of Beaucaire). Nevertheless, a ghost, phantom, or spectre appearing in a dream or vision is purported to be as “real,” its message to be as consequential and as meaningful, as one that manifests in the material world (whether is it seen, as a spectral figure, or unseen, as an invisible presence). We are looking for papers that explore issues of validation and experience in communication with the spirit world. In the premodern world, what is a “real” ghost experience where “crossover” is concerned?

Send proposals of 250 words maximum to and

Deadline: September 1, 2019

Last updated June 5, 2019

Advance Notice - Horror Literature from Gothic to Post-Modern: Critical Essays

McFarland has posted the initial details of a collection based on papers presented at the Ann Radcliffe Academic Conference at StokerCon. I'll update the blog once the contents have been posted.

Horror Literature from Gothic to Post-Modern: Critical Essays

Edited by Michele Brittany and Nicholas Diak
Format: softcover (6 x 9)
Bibliographic Info: notes, bibliography, index
Copyright Date: 2019
pISBN: 978-1-4766-7488-9
eISBN: 978-1-4766-3791-4
Imprint: McFarland

Not Yet Published
Available for pre-order

Michele Brittany is the book review editor for the Journal of Graphic Novels and Comics and is the co-chair of the Ann Radcliffe Conference held in conjunction with Horror Writers Association’s annual Stokercon. She lives in Orange, California. Nicholas Diak is a pop culture scholar specializing in Italian spy films, post-industrial and synthwave music, and the works of H.P. Lovecraft. He has contributed essays, editorials and reviews to a variety of books, journals, and pop culture websites. He lives in Orange, California.

CFP Gothic Mash-Ups (Edited Collection) (8/30/19)

Call for Submissions: Gothic Mash-Ups (Edited Collection)

deadline for submissions: August 30, 2019
full name / name of organization: Natalie Neill
contact email:

Mash-up: “a mixture or fusion of disparate elements” (OED)

From its beginnings in the 18th century, the gothic was disparaged for its predictable group style and unoriginality. The earliest reviewers and parodists criticized gothic novels for being admixtures of already clichéd gothic scenes thrown in merely to attract fans of the new genre. To this day, the gothic is a paradoxical genre, its outré subject matters seemingly at odds with a tendency to rely on familiar tropes and formulae. All gothic texts are mash-ups to the extent that they are haunted by previous texts. Far from being a failing, this propensity on the part of gothic storytellers to make new stories out of older ones is arguably the genre’s most compelling feature.

Intended for publication with Lexington Books, Gothic Mash-Ups will theorize and trace the way that producers of gothic fiction – from the 18th century to today – appropriate, combine, and reimagine elements from earlier texts and genres. Particularly welcome are essays about individual texts (or groups of texts) that bring together characters and storylines from two or more prior gothic narratives or cross gothic storylines with other kinds of stories. From Walpole’s early generic hodgepodge and Universal Pictures’ monster film crossovers to such contemporary “Frankenfictions” (De Bruin-Molé) as The League of Extraordinary Gentlemen and Penny Dreadful, this collection will examine the fundamental hybridity of the gothic as a genre.

Contributors to the collection might focus on (but need not be limited to):

  • First-wave gothic novels as mash-ups
  • Generic hybrids that include gothic elements
  • Victorian and neo-Victorian gothic mash-ups
  • Pirated and plagiarized gothic texts as mash-ups
  • Horror film, video game, or comic book mash-ups
  • Gothic adaptations (broadly understood) as mash-ups
  • Gothic televisual mash-ups like Dark Shadows and Penny Dreadful
  • Gothic crossover fanfiction
  • Critical and reader responses to gothic mash-ups
  • Gothic parodies and satires of / as gothic mash-ups
  • Theoretical approaches to gothic mash-ups

Please send proposed chapter abstracts (400-500 words) and a short biography (200 words) to Natalie Neill ( by August 30, 2019. Finished chapters (approximately 6,000-7,000 words, including notes and bibliography) will be due by March 30, 2020.

Natalie Neill teaches in the Department of English at York University, where she specializes in nineteenth-century literature and first-year teaching. She has published articles and book chapters on Romantic-period satire, gothic parody, and film adaptations of nineteenth-century novels (among other topics).

Last updated June 19, 2019

CFP Otherness: Essays and Studies 7.3 (9/1/2019)

Otherness: Essays and Studies 7.3 (General Issue)

deadline for submissions: September 1, 2019
full name / name of organization: Centre for Studies in Otherness
contact email:

The peer-reviewed e-journal Otherness: Essays and Studies is now accepting submissions for its next general issue, 7.3, forthcoming Winter 2019.

Otherness: Essays and Studies publishes research articles from and across different scholarly disciplines that examine, in as many ways as possible, the concepts of otherness and alterity.  We particularly appreciate dynamic cross-disciplinary study.

“To approach the Other in conversation is to welcome his expression, in which at each instant he overflows the idea a thought would carry away from it. It is therefore to receive from the Other beyond the capacity of the I, which means exactly: to have the idea of infinity. But it also means: to be taught.”
― Emmanuel Levinas, Totality and Infinity: An Essay on Exteriority

Otherness is complex and multivalent term. Otherness is defined by difference, both via outside markers and internal characteristics. Otherness is also a means by which we define ourselves.  Thus the concept is inevitably bound with conceptions of selfhood, making it fundamental for discussions of subjectivity, social, cultural and national identity, and larger discussions of ontology. In light of more recent theory and criticism, the assumed line between the self and the other, the defining boundary of identity construction, is blurred, and as such the entire concept of otherness has become intricate and problematic.  It is this concept, otherness, in all of its complexities and nuances that we seek to explore and discuss through Otherness: Essays and Studies.

Past projects from the Centre, and past issues of the journal, have brought together articles from the fields of cultural theory, continental philosophy, sociology, postcolonial studies, psychoanalysis, gender studies, Gothic studies, animal alterity, the performing arts, fandom and celebrity studies, postmodernism and poststructuralist theory, and the consideration of the post-linguistic turn in their consideration of otherness.  This journal invites submissions dealing with aspects of critical, socio-political, cultural, and literary exploration, within the scope of studies in otherness and alterity.

Topics may include, but are not limited to:

  • Otherness in Cultural Representation
  • The Representation of Otherness in Popular Culture
  • Hybridity, Creolization, and the Global Other
  • Representations of Otherness in the Global South
  • Otherness and the Non-Human Animal
  • Ethics, Responsibility, and the Other
  • Memory, History, Trauma, and Otherness
  • Sexuality, Gender, the Body and the Other
  • Absolute Otherness vs. Self-Same Other
  • Monstrosity, Spectrality and Terror of the Other
  • Uncanny or Abject Others; or The Familiar Other
  • The Sublime or the Unimaginable Other
  • Otherness and the ‘Post-Racial’
  • Political Otherness, Democracy, and the Post-Truth Era
  • Nationalism, Multiculturalism, and the Identity of the Other

Articles should be between 5,000 – 8,000 words. All electronic submissions should be sent via email with Word document attachment formatted to Chicago Manual of Style standards to the editor Matthias Stephan at

The deadline for submissions is Sunday, September 1, 2019.

Last updated June 19, 2019

CFP: Screening Loss: An Exploration of Grief in Contemporary Horror Cinema (9/30/19)

Call for Chapters - Screening Loss: An Exploration of Grief in Contemporary Horror Cinema

deadline for submissions: September 30, 2019
full name / name of organization: Associate Professor Jan Selving / East Stroudsburg University; Assistant Professor Erica J. Dymond / East Stroudsburg University
contact email:

Horror films have long held a place in cinematic history as an expression of the monstrous, the un-nameable, and the unknown. They are a powerful point of catharsis in which viewers see their deepest fears played out onscreen, whether the threat is fully embodied or less concretely defined. As a result, grief and loss have always figured heavily in this genre.

This collection addresses horror films’ treatment of loss, specifically grief and how grief shapes, magnifies, and escalates the horrific. Selected films should be from the last twenty years. This contemporary approach will lend the collection a sense of urgency. Moreover, in addition to conventional horror films, we highly support explorations of less frequently examined films that contain a high degree of complexity in content and aesthetics. A24 films are the perfect example of this. Additionally, examinations of genre-defying films such as Yorgos Lanthimos’ The Killing of a Sacred Deer and David Lowery’s A Ghost Story are especially encouraged.

We value inclusivity and welcome abstracts that focus on international films as well as those who are historically underrepresented.

The book is structured to be a reader for film seminars as well as a tool for research. As a result, each chapter will focus on a single film. And, while the chapters are narrow in this sense, we fully expect that contributors will wish to reference other films and works of art in their essays.

We welcome all theoretical approaches. Likewise, given the interdisciplinary nature of this collection, we invite abstracts from academics not only in film studies, English, and communications, but also psychology and sociology.

Suggestions for films include but are not limited to:

Ari Aster’s Midsommer (2019)

Kevin Kolsch and Dennis Widmyer’s Pet Sematary (2019)

Yorgos Lanthimos’ The Killing of a Sacred Deer (2017)

Robert Eggers’s The VVitch (a.k.a. The Witch) (2015)

Jennifer Kent’s The Babadook (2014)

Ari Aster’s Hereditary (2018)

David Lowery’s A Ghost Story (2017)

Ana Lily Amirpour’s A Girl Walks Home Alone at Night (2015)

Jennifer Kent’s The Babadook (2014)

Tomas Alfredson’s Låt den Rätte Komma (Let the Right One In) (2008)

J. A. Bayona’s El Orfanato (The Orphanage) (2007)

Lars von Trier’s Antichrist (2009)

Takashi Miike's Ôdishon (Audition) (1999)

Please submit a 500-word chapter abstract and a biography of no more than 250 words by September 30, 2019 to All abstracts will be given full consideration. We will notify all applicants of the results by October 31, 2019. If selected, the contributor has until June 30, 2020 to submit her/his/their completed chapters.

The volume is intended for publication through Lexington Books, who has expressed interest in this project. 

Last updated June 19, 2019

CFP Witches (Spec Issue of Journal of Dracula Studies) (1/1/2020)

Journal of Dracula Studies Special Issue: Witches

deadline for submissions: January 1, 2020
full name / name of organization: Anne DeLong/Transylvanian Society of Dracula
contact email:

The Journal of Dracula Studies is accepting submissions of manuscripts of scholarly articles (4000-6000 words) for a 2020 Special Issue focusing on witches and witchcraft. Papers may examine the figure of the witch and/or the practice of witchcraft in literature, film, folklore, and popular culture. Submissions are due by January 1, 2020. Possible topics include the following:

  • witches, wizards, warlocks, cunning folk
  • magic and magical practices
  • hexing and spell casting
  • witches throughout history
  • witch hunts and witch trials
  • witchcraft and feminism
  • witchcraft and New Age spirituality
  • witchcraft and political activism
  • witchcraft and spiritualism: seances, spirit communication
  • culturally diverse witchcraft practices: Voodoo, conjure, pow wow, etc.
  • depictions of witches and witchcraft in film, television, and popular culture

Last updated July 5, 2019

Sunday, June 2, 2019

CFP An “Other” Zombie Project: Decolonizing the Undead (5/31/2019

An “Other” Zombie Project: Decolonizing the Undead

Discussion published by Elif Sendur on Sunday, March 31, 2019 

An “Other” Zombie Project: Decolonizing the Undead
Edited by Professor Stephen Shapiro, Giulia Champion and Roxanne Douglas

The editors of this project are interested in developing an interdisciplinary edited collection on perspectives of the zombie figure that focus on non-Anglo-Euro-centric works and theories. We are interested in submissions that re-frame the zombie figure in the humanities and social sciences and/or contest previous understandings of the zombie and its history. These re-framings could be articulated with areas of engagement which include, but are not limited to:

· Contemporary Environmental Issues
· Decolonizing Movements, Silenced Pasts and Historical Amnesia
· (Post-)Colonial Debates
· The Global South and Non-Western Works
· (Post-)Feminism
· Social Justice
· Debates on “Popular Culture” and de-hierarchization of arts and culture
· Literature and Visual Studies
· Disability Studies
· Migration
· Pedagogy and Education

300-500 words chapter abstracts, including 5 to 10 keywords, are due by the 31stMay 2019 and full chapter submissions will due November/December 2019.

The following information should accompany any submission:
· Author’s title, name, affiliation and position
· A brief biography (up to 200 words)
· Permissions for any images used
· Copies of any relevant ethics clearances and disclosure of funding
· An acknowledgement that the work has not been previously published and is not under simultaneous consideration elsewhere

Please direct all submissions and enquiries to

NEPCA Monsters Area Update

NEPCA has extended the deadline for submissions of paper proposals to 15 June.

The call for the Monsters and the Monstrous Area can be accessed at the following address:

Sunday, April 28, 2019

Notice of Monsters: An Inclusive Interdisciplinary Conference (Lisbon 8/31-9/1/2019)

Sorry for the delay posting this. Do note the submission deadline has now passed.

Monsters: An Inclusive Interdisciplinary Conference
Discussion published by Elif Sendur on Sunday, January 20, 2019

An Inclusive Interdisciplinary Conference

Saturday 31st August 2019 - Sunday 1st September 2019
Lisbon, Portugal

This inclusive interdisciplinary conference seeks to investigate and explore the enduring influence and imagery of monsters and the monstrous on human culture throughout history. In particular, the project will have a dual focus with the intention of examining specific ‘monsters’ as well as assessing the role, function and consequences of persons, actions or events identified as ‘monstrous’. The history and contemporary cultural influences of monsters and monstrous metaphors will also be examined with a view to forming a selective publication to engender further collaboration and discussion.

Consistent with its inter-disciplinary ethos, the event proposes to step outside the traditional conference setting and offer opportunities for artists, photographers, practitioners, theorists, independent scholars, academics, performers, writers, and others to intermingle, providing platforms for interdisciplinary interactions that are fruitful and conducive to broadening horizons and sparking future projects, collaborations, and connections.

The organisers welcome proposals for presentations, displays, exhibits, round tables, panels, interactive workshops and other activities to stimulate engagement and discussion on any aspect of the interplay between monsters, monstrosities, and the monstrous, particularly in relation to any of the following themes:

* The “monster” through history
* Civilization, monsters and the monstrous
* Children, childhood, stories and monsters; monsters and parents
* Comedy: funny monsters and/or making fun of monsters (e.g. Monsters Inc, the Addams Family)
* Making monsters; monstrous births
* Mutants and mutations
* Technologies of the monstrous
* Horror, fear and scare
* Do monsters kill because they are monstrous or are they monstrous because they kill?
* How critical to the definition of “monster” is death or the threat of death?
* human ‘monsters’ and ‘monstrous’ acts? e.g, perverts, paedophiles and serial killers
* the monstrous and gender
* Revolution and monsters; the monstrous and politics; enemies (political/social/military) and monsters
* Iconography of the monstrous
* The popularity of the modern monsters; the Mummy, Dracula, Frankenstein, Vampires, Hannibal
* The monster in literature
* the monstrous in popular culture: film, television, theatre, radio, print, internet
*The monstrous and journalism
* Religious depictions of the monstrous; the monstrous and the supernatural
* Metaphors and the monstrous
* the monstrous and war, war reportage / propaganda

Papers will also be accepted which deal solely with specific monsters.

What to Send
The aim of this interdisciplinary conference and collaborative networking event is to bring people together and encourage creative conversations in the context of a variety of formats: papers, seminars, workshops, storytelling, performances, poster presentations, panels, q&a’s, round-tables etc.

300 word proposals, presentations, abstracts and other forms of contribution and participation should be submitted by Friday 8th March 2019. Other forms of participation should be discussed in advance with the Organising Chair.

All submissions will be minimally double reviewed, under anonymous (blind) conditions, by a global panel drawn from members of the Project Development Team and the Advisory Board. In practice our procedures usually entail that by the time a proposal is accepted, it will have been triple and quadruple reviewed.

You will be notified of the panel’s decision by Friday 22nd March 2019.

If your submission is accepted for the conference, a full draft of your contribution should be submitted by Friday 12th July 2019.

Abstracts and proposals may be in Word, PDF, RTF or Notepad formats with the following information and in this order:
a) author(s), b) affiliation as you would like it to appear in the programme, c) email address, d) title of proposal, e) body of proposal, f) up to 10 keywords.

E-mails should be entitled: Monsters Submission.

Early Bird Submission and Discount
Submissions received on or before Friday 8th February 2019 will be eligible for a 10% registration fee discount.

Where to Send
Abstracts should be submitted simultaneously to the Organising Chair and the Project Administrator:

Dr Cristina Santos:
Project Administrator:

What’s so Special About Progressive Connexions Events?
A fresh, friendly, dynamic format – at Progressive Connexions we are dedicated to breaking away from the stuffy, old-fashion conference formats, where endless presentations are read aloud off PowerPoints. We work to bring you an interactive format, where exchange of experience and information is alternated with captivating workshops, engaging debates and round tables, time set aside for getting to know each other and for discussing common future projects and initiatives, all in a warm, relaxed, egalitarian atmosphere.

A chance to network with international professionals – the beauty of our interdisciplinary events is that they bring together professionals from all over the world and from various fields of activity, all joined together by a shared passion. Not only will the exchange of experience, knowledge and stories be extremely valuable in itself, but we seek to create lasting, ever-growing communities around our projects, which will become a valuable resource for those belonging to them.

A chance to be part of constructing change – There is only one thing we love as much as promoting knowledge: promoting real, lasting social change by encouraging our participants to take collective action, under whichever form is most suited to their needs and expertise (policy proposals, measuring instruments, research projects, educational materials, etc.) We will support all such actions in the aftermath of the event as well, providing a platform for further discussions, advice from the experts on our Project Advisory Team and various other tools and intellectual resources, as needed.

An opportunity to discuss things that matter to you – Our events are not only about discussing how things work in the respective field, but also about how people work in that field – what are the struggles, problems and solutions professionals have found in their line of work, what are the areas where better communication among specialists is needed and how the interdisciplinary approach can help bridge those gaps and help provide answers to questions from specific areas of activity.

An unforgettable experience – When participating in a Progressive Connexions event, there is a good chance you will make some long-time friends. Our group sizes are intimate, our venues are comfortable and relaxing and our event locations are suited to the history and culture of the event.

Progressive Connexions believes it is a mark of personal courtesy and professional respect to your colleagues that all delegates should attend for the full duration of the meeting. If you are unable to make this commitment, please do not submit an abstract or proposal for presentation.

Please note: Progressive Connexions is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence, nor can we offer discounts off published rates and fees.


Web address:

Sponsored by: Progressive Connexions

Friday, April 26, 2019

CFP Call for Papers for the Inaugural Session of the Monsters and the Monstrous Area (6/1/2019; Portsmouth, NH 11/15-16/2019)

Call for Papers for the Inaugural Session of the Monsters and the Monstrous Area

2019 Conference of the Northeast Popular & American Culture Association (NEPCA)

Sheraton Portsmouth Harborside Hotel in Portsmouth, NH, Friday, 15 November, - Saturday, 16 November

Proposals due by 1 June 2019

The Monsters and the Monstrous Area welcomes proposals that investigate any of the things, whether mundane or marvelous, that scare us. Through our sessions, we hope to pioneer fresh explorations into the darker sides of the intermedia traditions of the fantastic (including, but not restricted to, aspects of fairy tale, fantasy, gothic, horror, legend, mythology, and science fiction) by illuminating how creative artists have both formed and transformed our notions of monsters within these sub-traditions in texts from various countries, time periods, and media and for audiences at all levels. Our primary goal is to foster a better understating of monsters in general and to examine their impact on those that receive their stories as well as on the world at large. However, as a component of the Northeast Popular Culture/American Culture Association, the Monsters and the Monstrous Area is also especially interested in celebrating both the New England Gothic tradition and the life, works, and legacy of H. P. Lovecraft, a leading proponent of Weird Fiction and an immense influence on contemporary popular culture.

Please submit paper proposals through NEPCA’s Google form accessible from Submissions should comprise the presenter’s personal information (including email, full name, home address, telephone, academic affiliation [if one], and scholarly rank [if relevant], and a short bio of 50-200 words) AND paper information (including a working title of no more than 60 characters and proposal/abstract of no more than 250 words). Do be sure to select “Monsters and the Monstrous Area” as your designated Subject Area.

Please address any inquiries about submissions to the area chair, Michael A. Torregrossa, at

The Monsters and the Monstrous Area is affiliated with the Northeast Alliance for Scholarship on the Fantastic, which maintains three websites that might be of interest to potential presenters. They are Northeast Fantastic (, Popular Preternaturaliana: Studying the Monstrous in Popular Culture (, and Frankenstein and the Fantastic (

NEPCA prides itself on holding conferences that emphasize sharing ideas in a non-competitive and supportive environment. We welcome proposals from graduate students, junior faculty, and senior scholars. NEPCA conferences offer intimate and nurturing sessions in which new ideas and works-in-progress can be aired, as well as completed projects. Further details on the organization can be found at their website:

Sunday, April 14, 2019

Journal of Dracula Studies 2019 Submissions (papers by 5/1/2019)

Journal of Dracula Studies

deadline for submissions:
May 1, 2019

full name / name of organization:
Anne DeLong/Transylvanian Society of Dracula

contact email:

We invite manuscripts of scholarly articles (4000-6000 words) on any of the following: Bram Stoker, the novel Dracula, the historical Dracula, the vampire in folklore, fiction, film, popular culture, and related topics.

Submissions should be sent electronically (as an e-mail attachment in .doc or .rtf). Please indicate the title of your submission in the subject line of your e-mail. Send electronic submissions to

Please follow the updated MLA style. Contributors are responsible for obtaining any necessary permissions and ensuring observance of copyright. Manuscripts will be peer-reviewed independently by at least two scholars in the field. Copyright for published articles remains with the author.

Submissions must be received no later than May 1 in order to be considered for that year’s issue.

Last updated January 23, 2019

Sunday, September 23, 2018

CFP Of God and Monsters Conference (11/1/2018; Texas State U 4/4-6/2019)

Sorry to have missed posting this sooner:

Of God and Monsters
April 4th – 6th 2019
Texas State University San Marcos, TX

Judith Halberstam famously claimed that monsters are “meaning machines” that can be used to represent a variety of ideas, including morality, gender, race, and nationalism (to name only a few). Monsters are always part of the project of making sense of the world and our place in it. As a tool through which human beings create worlds in which to meaningfully dwell, monsters are tightly bound with many other systems of meaning-making like religion, culture, literature, and politics. Of Gods and Monsters will provide focused space to explore the definition of “monster,” the categorization of monsters as a basis of comparison across cultures, and the relationship of monsters to various systems of meaning-making with the goal of understanding how humans have used and continued to use these “meaning machines.”

The Religious Studies program at Texas State University, therefore, welcomes submissions for our upcoming conference on Monsters and Monster Theory. Through this conference, we hope to explore the complex intersections of monsters and meaning making from a variety of theoretical, academic, and intellectual angles. Because “monsters” are a category that appears across time and cultural milieus, this conference will foster conversations between scholars working in very different areas and is not limited in terms of cultural region, historical time, or religious tradition. As part of fostering this dialogue, conference organizers are thrilled to announce that Douglas E. Cowan will serve as this event’s keynote speaker, while archival researcher and cryptid expert Lyle Blackburn will offer a second plenary address. Conference organizers anticipate inviting papers presented at this conference to submit their revised papers for an edited volume.

If interested, please submit an abstract with a maximum of 300-words to by November 1st, 2018. Final decisions on conference participation will be sent out by the first week of December. If you have any further questions, please do not hesitate to contact conference organizers Natasha Mikles ( or Joseph Laycock (

CFP Withcraft Hysteria: Performing Witchcraft in Contemporary Art and Pop Culture (proposals by 10/1/2018)

CFP: WITCHCRAFT HYSTERIA: Performing Witchcraft in Contemporary Art and Pop Culture
August 14, 2018

Call for Papers

October 1, 2018

California, United States

Subject Fields:
Art, Art History & Visual Studies, Cultural History / Studies, Popular Culture Studies, Theatre & Performance History / Studies, Women’s & Gender History / Studies

WITCHCRAFT HYSTERIA. Performing witchcraft in contemporary art and pop culture.

We seem to be living in bewitched times. Witches are everywhere, or rather: victims of alleged witch hunts pop up all over the place, preferable on Twitter or other social media. Pop-stars perform as witches, like Katy Perry in her performance at the 2014 Grammy awards, where she appeared in a cowl before a crystal ball, while later dancing with broomsticks as poles. Beyoncé’s visual album “Lemonade” (2016) made several explicit references to black witchcraft rituals. Azealia Banks proclaimed in the same year on Twitter that she practiced “three years worth of brujería” (brujería, Spanish: witchcraft) and tweeted––while cleaning the blood-smeared room used for her animal sacrifices––“Real witches do real things”. Marina Abramovic’s performance piece “Spirit Cooking” (1996) was used in the ominous Pizzagate conspiracy theory of 2016, accusing Abramovic and the Hillary Clinton campaign in practicing witchcraft rituals and occult magic. Clinton and other influential women in politics–such as Nany Pelosi and Maxine Waters––get labeled as witches and Sarah Palin partakes in a ritual to secure her electoral win and “save her from witchcraft”. Meanwhile, thousands of people coordinate binding spells against political leaders (#bindtrump) and Silvia Federici’s seminal book “Caliban and the Witch” moved from the bookshelf to the bedside table for many art professionals.

The title “Witchcraft Hysteria” follows the inscription on the monument dedicated 1992 to the Salem Witch Trials (1692), that were informed by European-US-American witchcraft discourses of their time and in turn were highly influential on today’s discussions.

For this publication, we want to investigate the revival and the current interest in the figure of the witch and the performance of witchcraft in contemporary art, visual culture and pop culture. The figure of the witch as icon of historical significance and present relevance in art and politics has only gained in its cultural impact. Our project focuses on performance strategies of “performing witchcraft” in a contemporary context, focusing on the last two decades.

Relevant paper topics may consider, but are not limited to:

  • The figure of the witch in contemporary art and culture
  • Contextualizing Witchcraft Hysteria in Theater, Film, Television, Streaming Media, Social Media, etc. in their historical representations and current manifestations
  • Witchcraft (Hysteria) and Performance Studies
  • Witchcraft and feminist (art) practice
  • Practicing Witchcraft as political protest
  • The politics of being (labeled) a witch
  • Queer-Feminist perspectives on Witchcraft
  • (Intersectional) Questions of Gender, Class and Race and Witchcraft


Proposals (500 words): October 1, 2018

Final Papers Due: January 16, 2018 [I assume this is an error for 1/16/2019]

Submission of Final Revised Papers for Publication: March 4, 2018 [likewise, I assume this is an error for 3/4/2019].

Publication: Summer, 2018 [again, I assume this is an error for Summer 2019]

Please submit a 500-word proposal and a 200-word biography to both editors: Johanna Braun ( and Katharina Brandl ( by October 1, 2018.

Contact Info:
Katharina Brandl

University of Basel, Switzerland

Johanna Braun
Erwin Schrödinger Research Fellow at University of California, Los Angeles

Contact Email: