Ray Bradbury And Horror Fiction: The New Ray Bradbury Review special issue
https://www.cfplist.com/CFP.aspx?CID=9560
Event: 03/21/2019
Abstract: 05/01/2017
Location: Indianapolis, IN, USA
Organization: Center for Ray Bradbury Studies
Ray Bradbury and Horror Fiction
The problem of genre is especially complicated when it comes to Ray Bradbury. The author of The Martian Chronicles, Dandelion Wine, The Halloween Tree, Something Wicked This Way Comes, The Illustrated Man, Fahrenheit 451, and innumerable poems, comic books, short stories, radio, TV, and movie scripts alchemically combined elements as diverse as rockets and hauntings, uncanny phenomena and freak shows, the Cthulhu mythos and common serial killers. The New Ray Bradbury Review seeks essays for a special issue dedicated to Ray Bradbury’s unique brand of horror fiction.
Bradbury began his writing career with a homemade pulp, Futuria Fantasia, modeled on Farnsworth Wright’s Weird Tales. Many of his early stories were based on Poe, including “The Pendulum” (1939) and “Carnival of Madness” (1950, revised as “Usher II” in The Martian Chronicles). Poe also is at the center of “The Mad Wizards of Mars” (1949, best known as “The Exiles” in The Illustrated Man, 1951), a story that is also populated by many of the horror and dark fantasy writers of the last two hundred years. Lovecraft’s influence is traceable as well: “Luana the Living” (a fanzine piece from 1940) and “The Watchers” (1945), a tale that centers on a Lovecraftian horror of unseen forces bent on destroying anyone who discovers their presence beneath the surface of everyday life. Concurrently, Bradbury explored aspects of the American Gothic (see, for example, his carnie tales in Dark Carnival [1947], The Illustrated Man [1951], and The October Country [1955]). His later career saw a return to gothic fantasy elements, now playfully blended with other genres in such novels as Death is a Lonely Business (1985) and A Graveyard for Lunatics (1990). Some of his early gothic fantasy was revisited in his late career with the novelized story-cycle From the Dust Returned (2001).
The New Ray Bradbury Review, produced since 2008 by the Center for Ray Bradbury Studies at Indiana University and published by Kent State University Press, seeks articles on topics including (but not limited to):
• Bradbury and the pulps
• Bradbury and the American Gothic (including circus and freak show stories)
• Bradbury and mythology
• Bradbury and the problem of genre (ways literary historians have catalogued or miscatalogued his work)
• Bradbury’s literary reputation (and similar problems faced by writers as diverse as Carson McCullers and Stephen King)
• Bradbury and the Lovecraft Circle, including Robert Bloch, August Derleth, and Frank Belknap Long
• Bradbury and the Southern California circle, including Richard Matheson, Charles Beaumont, William F. Nolan, George Clayton Johnson
• Bradbury and related short story writers, such as Roald Dahl, Nigel Kneale, Theodore Sturgeon, Fritz Leiber, Harlan Ellison, Neil Gaiman
• Unproduced works or adaptations, for example Bloch’s Merry-Go-Round for MGM (based on Ray Bradbury's story "Black Ferris”)
• The Halloween Tree (novel, screenplay, and/or animated adaption), Something Wicked This Way Comes (novel, stage play, and/or Disney film), The October Country or the collection Bloch and Bradbury: Whispers from Beyond
• Bradbury and literary agent/comic book editor Julius Schwartz
• Bradbury’s stories for the radio programs such as Dimension X and Suspense, TV series such as The Alfred Hitchcock Hour, or horror tales adapted for EC Comics or other outlets
• Bradbury’s own adaptations for the TV series The Ray Bradbury Theater.
• The art of the animated Halloween Tree and later films such as The Nightmare Before Christmas
Proposals of up to 500 words should be submitted by May 1, 2017, to guest editor Jeffrey Kahan (vortiger@hotmail.com). Authors of selected abstracts will be notified by July 1, 2017. Full drafts (5,000 to 7,000 words) will be due by December 1, 2017. The issue is provisionally scheduled for spring 2019.
Contact Email: vortiger@hotmail.com
Website: http://bradbury.iupui.edu/news/call-papers-new-ray-bradbury-review-special-issue
Thursday, February 9, 2017
CFP Special Gothic Edition of the Journal of New Zealand Literature (2/3/2017)
An intriguing idea:
Special Gothic Edition of the Journal of New Zealand Literature
https://www.cfplist.com/CFP.aspx?CID=9706
Event: 07/17/2017
Abstract: 02/03/2017
Categories:
Location: New Zealand
Organization: Journal of New Zealand Literature
The Journal of New Zealand LIterature i(JNZL) is the only international, peer-reviewed journal devoted to New Zealand literary studies. In 2017, JNZL will publish a special edition devoted to Gothic and it welcomes the submission of papers (4000-5000 words) on any aspect of the Gothic as it relates to New Zealand literature.
Topics can include, but are not limited to:
The deadline for expressions of interest is 3 February 2017. These should include an abstract of the proposed paper (250 words) and a short bio (100 words).
Completed papers are due 17 July 2017.
Please email expressions of interest and completed papers to the guest edition Dr Erin Mercer at: e.mercer@massey.ac.nz
For more information please email Erin Mercer or visit the JNZL website: http://jnzl.ac.nz
Contact Email: e.mercer@massey.ac.nz
Website: https://jnzl.ac.nz/
Special Gothic Edition of the Journal of New Zealand Literature
https://www.cfplist.com/CFP.aspx?CID=9706
Event: 07/17/2017
Abstract: 02/03/2017
Categories:
Location: New Zealand
Organization: Journal of New Zealand Literature
The Journal of New Zealand LIterature i(JNZL) is the only international, peer-reviewed journal devoted to New Zealand literary studies. In 2017, JNZL will publish a special edition devoted to Gothic and it welcomes the submission of papers (4000-5000 words) on any aspect of the Gothic as it relates to New Zealand literature.
Topics can include, but are not limited to:
- Haunting and spectrality
- Domestic Gothic
- Rural Gothic
- Monsters and the monstrous
- The Uncanny
- Memory and Trauma
- Gothic intertextualities
- Genre and the Gothic
- Regionalities and geographies
- Postcolonial Gothic
- Maori Gothic
The deadline for expressions of interest is 3 February 2017. These should include an abstract of the proposed paper (250 words) and a short bio (100 words).
Completed papers are due 17 July 2017.
Please email expressions of interest and completed papers to the guest edition Dr Erin Mercer at: e.mercer@massey.ac.nz
For more information please email Erin Mercer or visit the JNZL website: http://jnzl.ac.nz
Contact Email: e.mercer@massey.ac.nz
Website: https://jnzl.ac.nz/
CFP At the Mercy of Monsters: Essays on the Rise of Supernatural Procedural Dramas Collection (3/18/2017)
An intriguing idea; I wish them luck with the collection:
At the Mercy of Monsters: Essays on the Rise of Supernatural Procedural Dramas
https://www.cfplist.com/CFP.aspx?CID=9921
Event: 03/18/2017
Abstract: 03/18/2017
Editors Szanter and Richards seek original essays for an edited collection on Supernatural Procedural Dramas on television. While the crime procedural still remains one of the most recognizable genres on television, post-millennial incarnations of the genre often include considerations of the supernatural in tandem with crime solving and justice. Long running shows, such as The X-Files, as well as newer iterations of this phenomena, like Lucifer, present crime solving as an action best done by, or in cooperation with, supernatural beings. This collection aims to explore how this new, evolution of the crime drama reflects potential dismay about the nature of the criminal justice system and/or its on screen interpretations.
Chapters in the proposed collection can focus on one or more of the following categories:
• Explorations of why the criminal procedural genre needed (wanted?) to incorporate supernatural elements? The traditional criminal procedural can clearly stand on its own, so why modify it in this way now? How does supernaturalism impact the crime genre’s conventions?
• Analyze how particular shows incorporate or discuss “isms.” We welcome chapters tackling how specific supernatural crime dramas deal with Feminism, Marxism, Queer studies, and Masculinity studies, among others. Of particular interest to the editors are non-binary gender and sexuality, feminism, race, “passing,” and non-traditional/deconstructed families or relationships
• Do a theoretical analysis on any of the following TV shows: Lucifer, iZombie, Sleepy Hollow, Grimm, Fringe, The X-Files, Twin Peaks, Medium, Warehouse 13, Tru Calling, Forever, The Dresden Files, New Amsterdam, The Gates, Pushing Daisies, Forever Knight, and Special Unit 2.
• Modern monster theory as an important element of pop cultural study and relevance in an era of growing interest in popular depictions of law enforcement and the criminal justice system.
• How have shows like Lucifer and Grimm evolved out of shows like Buffy the Vampire Slayer, Supernatural, Torchwood, and Angel? While not specifically coded as criminal procedurals, these older series combine practices of detection and justice with conceptions of the supernatural as a given in their story worlds.
• How do shows like Sherlock, True Lies, Eureka, and Psych play with the line between supernaturalism and criminal justice? Though not inherently supernatural in nature, these shows present a new interpretation of the criminal procedural as dependent on or modified by a particular individual’s “powers” or talents? How do these shows walk this line without truly being supernatural?
• Attempts to address how superhero narratives fit into this will also be considered. How do shows like Jessica Jones, Luke Cage, or Daredevil fit into this burgeoning supernatural crime drama genre? While often showcasing vigilante justice over and above law enforcement, how do superhero shows present characters who work around the system with their individual “powers”?
• Why do some series, like Sleepy Hollow or Grimm, retain long term public interest whereas other series, such as Moonlight, Forever, New Amsterdam, get canceled after one season? What is the difference in staying power?
• Examinations of the place/function of romance in supernatural crime dramas. Relationships often crop up between supernatural characters and humans. Are these relationships more/less present in supernatural crime than in traditional crime procedurals?
• How is this burgeoning new supernatural procedural genre perhaps just an extension of the Gothic? Does this simply resurrect Gothic tendencies towards supernaturalism and detection? Discuss patterns of detection or Gothic elements in these shows/series. Does the supernatural procedural drama continue in that same tradition?
Abstract Due Dates
Preference will be given to abstracts received before March 18, 2017. Abstracts should be no longer than 350 words and be accompanied by a current CV.
Contact us and send abstracts to Ashley and Jessica at supernaturalprocedurals@gmail.com or visit our website at http://ashleyszanter.wixsite.com/supernaturalprodrama
Contact Email: supernaturalprocedurals@gmail.com
Website: http://ashleyszanter.wixsite.com/supernaturalprodrama
At the Mercy of Monsters: Essays on the Rise of Supernatural Procedural Dramas
https://www.cfplist.com/CFP.aspx?CID=9921
Event: 03/18/2017
Abstract: 03/18/2017
Editors Szanter and Richards seek original essays for an edited collection on Supernatural Procedural Dramas on television. While the crime procedural still remains one of the most recognizable genres on television, post-millennial incarnations of the genre often include considerations of the supernatural in tandem with crime solving and justice. Long running shows, such as The X-Files, as well as newer iterations of this phenomena, like Lucifer, present crime solving as an action best done by, or in cooperation with, supernatural beings. This collection aims to explore how this new, evolution of the crime drama reflects potential dismay about the nature of the criminal justice system and/or its on screen interpretations.
Chapters in the proposed collection can focus on one or more of the following categories:
• Explorations of why the criminal procedural genre needed (wanted?) to incorporate supernatural elements? The traditional criminal procedural can clearly stand on its own, so why modify it in this way now? How does supernaturalism impact the crime genre’s conventions?
• Analyze how particular shows incorporate or discuss “isms.” We welcome chapters tackling how specific supernatural crime dramas deal with Feminism, Marxism, Queer studies, and Masculinity studies, among others. Of particular interest to the editors are non-binary gender and sexuality, feminism, race, “passing,” and non-traditional/deconstructed families or relationships
• Do a theoretical analysis on any of the following TV shows: Lucifer, iZombie, Sleepy Hollow, Grimm, Fringe, The X-Files, Twin Peaks, Medium, Warehouse 13, Tru Calling, Forever, The Dresden Files, New Amsterdam, The Gates, Pushing Daisies, Forever Knight, and Special Unit 2.
• Modern monster theory as an important element of pop cultural study and relevance in an era of growing interest in popular depictions of law enforcement and the criminal justice system.
• How have shows like Lucifer and Grimm evolved out of shows like Buffy the Vampire Slayer, Supernatural, Torchwood, and Angel? While not specifically coded as criminal procedurals, these older series combine practices of detection and justice with conceptions of the supernatural as a given in their story worlds.
• How do shows like Sherlock, True Lies, Eureka, and Psych play with the line between supernaturalism and criminal justice? Though not inherently supernatural in nature, these shows present a new interpretation of the criminal procedural as dependent on or modified by a particular individual’s “powers” or talents? How do these shows walk this line without truly being supernatural?
• Attempts to address how superhero narratives fit into this will also be considered. How do shows like Jessica Jones, Luke Cage, or Daredevil fit into this burgeoning supernatural crime drama genre? While often showcasing vigilante justice over and above law enforcement, how do superhero shows present characters who work around the system with their individual “powers”?
• Why do some series, like Sleepy Hollow or Grimm, retain long term public interest whereas other series, such as Moonlight, Forever, New Amsterdam, get canceled after one season? What is the difference in staying power?
• Examinations of the place/function of romance in supernatural crime dramas. Relationships often crop up between supernatural characters and humans. Are these relationships more/less present in supernatural crime than in traditional crime procedurals?
• How is this burgeoning new supernatural procedural genre perhaps just an extension of the Gothic? Does this simply resurrect Gothic tendencies towards supernaturalism and detection? Discuss patterns of detection or Gothic elements in these shows/series. Does the supernatural procedural drama continue in that same tradition?
Abstract Due Dates
Preference will be given to abstracts received before March 18, 2017. Abstracts should be no longer than 350 words and be accompanied by a current CV.
Contact us and send abstracts to Ashley and Jessica at supernaturalprocedurals@gmail.com or visit our website at http://ashleyszanter.wixsite.com/supernaturalprodrama
Contact Email: supernaturalprocedurals@gmail.com
Website: http://ashleyszanter.wixsite.com/supernaturalprodrama
CFP Found Footage Magazine - Call for Papers Issue #4 (6/1/2017)
Of potential interest:
Found Footage Magazine - Call for Papers Issue #4
https://www.cfplist.com/CFP.aspx?CID=9920
Event: 06/01/2017
Abstract: 06/01/2017
Location: SPAIN
Organization: Found Footage Magazine
Found Footage Magazine is a printed film studies journal. It offers theoretical, analytical and informative content that hinges on the practice of found footage filmmaking including all its eclectic manifestations: recycled cinema, essay film, appropriation cinema, collage film, and compilation film…
Thus, FFM provides an unique forum for the critical thinking, study and dissemination of those practices that part from the re-use of extant images as a methodological strategy addressed to the composition of a new audio-visual discourse.
PAPER SUBMISSION DEADLINE FOR ISSUE #4: JUNE 1st, 2017
For more information please visit: www.foundfootagemagazine.com
Contact Email: submissions@foundfootagemagazine.com
Website: http://www.foundfootagemagazine.com
Found Footage Magazine - Call for Papers Issue #4
https://www.cfplist.com/CFP.aspx?CID=9920
Event: 06/01/2017
Abstract: 06/01/2017
Location: SPAIN
Organization: Found Footage Magazine
Found Footage Magazine is a printed film studies journal. It offers theoretical, analytical and informative content that hinges on the practice of found footage filmmaking including all its eclectic manifestations: recycled cinema, essay film, appropriation cinema, collage film, and compilation film…
Thus, FFM provides an unique forum for the critical thinking, study and dissemination of those practices that part from the re-use of extant images as a methodological strategy addressed to the composition of a new audio-visual discourse.
PAPER SUBMISSION DEADLINE FOR ISSUE #4: JUNE 1st, 2017
For more information please visit: www.foundfootagemagazine.com
Contact Email: submissions@foundfootagemagazine.com
Website: http://www.foundfootagemagazine.com
CFP Comics and Monsters—Monsters and Comics (expired)
Sorry to have missed posting this sooner:
Comics and Monsters—Monsters and Comics (CSSC May 11-12, Toronto)
https://www.cfplist.com/CFP.aspx?CID=10267
Event: 05/11/2017 - 05/12/2017
Abstract: 01/03/2017
Location: Toronto, Canada
Organization: Canadian Society for the Study of Comics
Comics and Monsters—Monsters and Comics
Canadian Society for the Study of Comics (May 11-12, Toronto)
This proposed panel explores the relationship between the monstrous (whether fantastic, gothic, or science fiction) and comics. With the formation of the Comics Code Authority in 1954, the “monstrous” has stood at the centre of aesthetic, historical, critical, and cultural debates around comics and graphic novels. Such efforts to regulate and ban a bestiary of the most fantastic and gothic monsters highlight the complex relationship between content and form that infuses the visual and textual dynamics of the monstrous in comics. Papers may focus on past or present treatments of the monstrous, including specific creatures and monsters, specific artists, or specific comic series.
Send a 200-word abstract and 50-word bio by 3 January 2017 to Chris Koenig-Woodyard, chris.koenig.woodyard@utoronto.ca. The panel will be proposed for the Canadian Society for the Study of Comics conference, 11-12 May 2017, Toronto (hosted in collaboration with the Toronto Comic Arts Festival (http://www.torontocomics.com/whats-happening/canadian-society-for-the-study-of-comics-2017-conference/).
Contact Email: chris.koenig.woodyard@utoronto.ca
Comics and Monsters—Monsters and Comics (CSSC May 11-12, Toronto)
https://www.cfplist.com/CFP.aspx?CID=10267
Event: 05/11/2017 - 05/12/2017
Abstract: 01/03/2017
Location: Toronto, Canada
Organization: Canadian Society for the Study of Comics
Comics and Monsters—Monsters and Comics
Canadian Society for the Study of Comics (May 11-12, Toronto)
This proposed panel explores the relationship between the monstrous (whether fantastic, gothic, or science fiction) and comics. With the formation of the Comics Code Authority in 1954, the “monstrous” has stood at the centre of aesthetic, historical, critical, and cultural debates around comics and graphic novels. Such efforts to regulate and ban a bestiary of the most fantastic and gothic monsters highlight the complex relationship between content and form that infuses the visual and textual dynamics of the monstrous in comics. Papers may focus on past or present treatments of the monstrous, including specific creatures and monsters, specific artists, or specific comic series.
Send a 200-word abstract and 50-word bio by 3 January 2017 to Chris Koenig-Woodyard, chris.koenig.woodyard@utoronto.ca. The panel will be proposed for the Canadian Society for the Study of Comics conference, 11-12 May 2017, Toronto (hosted in collaboration with the Toronto Comic Arts Festival (http://www.torontocomics.com/whats-happening/canadian-society-for-the-study-of-comics-2017-conference/).
Contact Email: chris.koenig.woodyard@utoronto.ca
CFP Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay (1/31/17
Sounds like a great idea; sorry for the late post:
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
https://www.cfplist.com/CFP.aspx?CID=10376
Event: 10/31/2017
Abstract: 01/31/2017
Location: Uk & Sweden
Organization: Staffordshire University & University of Gothenburg
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
deadline for submissions:
October 31, 2017
full name / name of organization:
steve webley / Staffordshire University UK & Peter Zackariasson/ University of Gothenburg
contact email:
s.j.webley@staffs.ac.uk
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
The Playful Undead and Video Games
Critical Analyses of Zombies and Gameplay - abstract due date 31/Jan/2017
please see link below for further details
https://www.academia.edu/30084636/Call_for_chapters_-_The_Playful_Undead...
The zombie has had a glorious evolutionary journey. From its humble beginnings in early cinema, where it was portrayed as a somnambulistic Haitian drone, it has evolved into a diseased cadaverous cannibal that has managed to infect all forms of contemporary media and take centre stage in popular culture. The turbulent decade of the 1960s saw the Haitian zombie reinvented and radically politicized by the independent filmmaker George A. Romero. Over the following decade the zombie became a key component in politicizing the horror genre itself. Once considered as puerile teenage entertainment, horror was to become a serious tool for social commentary. With the growth of consumerism and later Cold War narratives the zombie became an ideological entity in its own right, animating the horror genre as a mythic form of social critique, and creating the ideologically charged post-apocalyptic survival space onto which audiences projected their desires, fantasies, and fears.
Since the early 2000s and the beginnings of the war on terror the zombie has continued to evolve and grow in popularity. Its presence can today be observed across the mediascape, from literature and graphic novels, to film and television series, to art and music, to video games. In fact, it is hard to avoid a video game that somehow includes a zombie. They dominate all gaming markets from app store based mobile and casual games, through indie titles and fan-made mods, to AAA productions. The zombie has become a video game enemy par excellence, appearing in such dedicated franchises as Resident Evil or in hugely popular downloadable content and add-ons to games such as ‘Nazi Zombies mode’ for Call of Duty. Moreover, even games that are not overtly of the zombie apocalypse canon contain both antagonists and protagonists that can effectively be labelled Undead. Titles as diverse as World of Warcraft or the Fallout franchise utilize the zombie and its undead tropes to create deep and meaningful characters and interactive experiences for players to indulge their fantasies.
Building on the cultural fascination with zombies this book will offer different ways to understand the roles of zombies in video games: Johan Huizinga (1938) posited that ‘… All play means something…!’ So we ask what can a focus on play and interactivity bring to the growing corpus of work developed on zombies in film and other media? Why the fascination? What practices have evolved? How and why are zombie based games designed and developed? What are the consequences? What does it mean to participate in an interactive zombie apocalypse? What does it mean to play with, or as, the undead?
This call for chapters will consider contributions from a wide set of academic disciplines, for example: economics, cultural theory, sociological studies, social psychology, psychology, politics, business, design, arts, history, philosophy, literature, and film. Today the study of zombies as a topic within many of these disciplines has become popular, resulting in articles, chapters and books. This book will build on the existing interest that is dispersed into different outputs, exploring this phenomenon in a multidisciplinary Routledge Advances in Game Studies publication.
Format
Please submit one page abstract (500-600 words), plus references. In this abstract it is important that you 1) highlight your focus on zombies and video games, 2) draw out your theoretical framework you plan to apply, and 3) state possible contribution made in the chapter. In addition to the abstract we ask you to submit a short bio, including key publications and academic discipline/school. Expected length of final chapter, 5000-6000 words.
Time plan 2017
January 31 – Deadline abstract
April 30 – Deadline chapter, first draft
May – Workshop (planned for Staffordshire or Gothenburg)
August 30 – Deadline chapter, second draft
October 31 – Deadline, final chapter
Editors
Stephen J. Webley, Staffordshire University, S.J.Webley@staffs.ac.uk
Peter Zackariasson, University of Gothenburg, peter.zackariasson@gu.se
please see link below
https://www.academia.edu/30084636/Call_for_chapters_-_The_Playful_Undead...
Contact Email: s.j.webley@staffs.ac.uk
Website: https://www.academia.edu/30132758/Routledge_Advances_in_Game_Studies_Critical_Analyses_of_Zombies_and_Gameplay
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
https://www.cfplist.com/CFP.aspx?CID=10376
Event: 10/31/2017
Abstract: 01/31/2017
Location: Uk & Sweden
Organization: Staffordshire University & University of Gothenburg
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
deadline for submissions:
October 31, 2017
full name / name of organization:
steve webley / Staffordshire University UK & Peter Zackariasson/ University of Gothenburg
contact email:
s.j.webley@staffs.ac.uk
The Playful Undead and Video Games: Critical Analyses of Zombies and Gameplay. Routledge Advances in Game Studies
The Playful Undead and Video Games
Critical Analyses of Zombies and Gameplay - abstract due date 31/Jan/2017
please see link below for further details
https://www.academia.edu/30084636/Call_for_chapters_-_The_Playful_Undead...
The zombie has had a glorious evolutionary journey. From its humble beginnings in early cinema, where it was portrayed as a somnambulistic Haitian drone, it has evolved into a diseased cadaverous cannibal that has managed to infect all forms of contemporary media and take centre stage in popular culture. The turbulent decade of the 1960s saw the Haitian zombie reinvented and radically politicized by the independent filmmaker George A. Romero. Over the following decade the zombie became a key component in politicizing the horror genre itself. Once considered as puerile teenage entertainment, horror was to become a serious tool for social commentary. With the growth of consumerism and later Cold War narratives the zombie became an ideological entity in its own right, animating the horror genre as a mythic form of social critique, and creating the ideologically charged post-apocalyptic survival space onto which audiences projected their desires, fantasies, and fears.
Since the early 2000s and the beginnings of the war on terror the zombie has continued to evolve and grow in popularity. Its presence can today be observed across the mediascape, from literature and graphic novels, to film and television series, to art and music, to video games. In fact, it is hard to avoid a video game that somehow includes a zombie. They dominate all gaming markets from app store based mobile and casual games, through indie titles and fan-made mods, to AAA productions. The zombie has become a video game enemy par excellence, appearing in such dedicated franchises as Resident Evil or in hugely popular downloadable content and add-ons to games such as ‘Nazi Zombies mode’ for Call of Duty. Moreover, even games that are not overtly of the zombie apocalypse canon contain both antagonists and protagonists that can effectively be labelled Undead. Titles as diverse as World of Warcraft or the Fallout franchise utilize the zombie and its undead tropes to create deep and meaningful characters and interactive experiences for players to indulge their fantasies.
Building on the cultural fascination with zombies this book will offer different ways to understand the roles of zombies in video games: Johan Huizinga (1938) posited that ‘… All play means something…!’ So we ask what can a focus on play and interactivity bring to the growing corpus of work developed on zombies in film and other media? Why the fascination? What practices have evolved? How and why are zombie based games designed and developed? What are the consequences? What does it mean to participate in an interactive zombie apocalypse? What does it mean to play with, or as, the undead?
This call for chapters will consider contributions from a wide set of academic disciplines, for example: economics, cultural theory, sociological studies, social psychology, psychology, politics, business, design, arts, history, philosophy, literature, and film. Today the study of zombies as a topic within many of these disciplines has become popular, resulting in articles, chapters and books. This book will build on the existing interest that is dispersed into different outputs, exploring this phenomenon in a multidisciplinary Routledge Advances in Game Studies publication.
Format
Please submit one page abstract (500-600 words), plus references. In this abstract it is important that you 1) highlight your focus on zombies and video games, 2) draw out your theoretical framework you plan to apply, and 3) state possible contribution made in the chapter. In addition to the abstract we ask you to submit a short bio, including key publications and academic discipline/school. Expected length of final chapter, 5000-6000 words.
Time plan 2017
January 31 – Deadline abstract
April 30 – Deadline chapter, first draft
May – Workshop (planned for Staffordshire or Gothenburg)
August 30 – Deadline chapter, second draft
October 31 – Deadline, final chapter
Editors
Stephen J. Webley, Staffordshire University, S.J.Webley@staffs.ac.uk
Peter Zackariasson, University of Gothenburg, peter.zackariasson@gu.se
please see link below
https://www.academia.edu/30084636/Call_for_chapters_-_The_Playful_Undead...
Contact Email: s.j.webley@staffs.ac.uk
Website: https://www.academia.edu/30132758/Routledge_Advances_in_Game_Studies_Critical_Analyses_of_Zombies_and_Gameplay
CFP Literature and the Sea Collection (3/1/17)
Note interest in "sea monsters":
CFP: Literature and the Sea (Edited Collection)
https://www.cfplist.com/CFP.aspx?CID=10534
Event: 03/01/2017
Abstract: 03/01/2017
Location: Troy, AL
Organization: Troy University
Call for Papers
Literature and the Sea: Maritime Literary Currents
Abstracts are invited for a proposed collection of essays on literature and the sea, broadly defined. Proposed papers may focus on the literature of any country and any literary period, but please keep in mind that the language for the volume will be English. Cambridge Scholars Publishing has already expressed interest in publishing this collection.
Topics might include (but are not limited to) the following:
• Literature of or about the sea
• Metaphorical seas
• Mexico and the sea
• Mythology and the sea
• Sublimity and the sea
• Transatlantic/transpacific confluences
• Oceania and island culture
• Caribbean authors and the sea
• International trade
• Environmental literature and the sea
• Politics
• Aquatic life and literature
• Seascapes in literature
• Recreation and the sea
• Tourism
• Ships and shipping
• Navigation
• Maps
• War and other conflict
• Visual art
• Travel writing
• Sea monsters
• Shipwrecks and survival
• Piracy
• Storms
• Atlantis
• Utopias/dystopias
• Fantasy and the sea
The editors will choose contributions based on submitted abstracts, which we will then send to the publisher as part of a book proposal. Full-length essays of 5000 to 7000 words will be due a few months thereafter, at which point we will begin the editing phase of the project.
For consideration, please send a 500-word abstract and one-page CV to bprobertson@troy.edu by 1 March 2017. All submissions will receive responses, so if you do not hear from us within a few days of submission, please check with us to make sure we received your material.
Editors ------------------
Ben P. Robertson
Katona D. Weddle
Ekaterina V. Kobeleva
Shannon Thompson
Contact Email: bprobertson@troy.edu
CFP: Literature and the Sea (Edited Collection)
https://www.cfplist.com/CFP.aspx?CID=10534
Event: 03/01/2017
Abstract: 03/01/2017
Location: Troy, AL
Organization: Troy University
Call for Papers
Literature and the Sea: Maritime Literary Currents
Abstracts are invited for a proposed collection of essays on literature and the sea, broadly defined. Proposed papers may focus on the literature of any country and any literary period, but please keep in mind that the language for the volume will be English. Cambridge Scholars Publishing has already expressed interest in publishing this collection.
Topics might include (but are not limited to) the following:
• Literature of or about the sea
• Metaphorical seas
• Mexico and the sea
• Mythology and the sea
• Sublimity and the sea
• Transatlantic/transpacific confluences
• Oceania and island culture
• Caribbean authors and the sea
• International trade
• Environmental literature and the sea
• Politics
• Aquatic life and literature
• Seascapes in literature
• Recreation and the sea
• Tourism
• Ships and shipping
• Navigation
• Maps
• War and other conflict
• Visual art
• Travel writing
• Sea monsters
• Shipwrecks and survival
• Piracy
• Storms
• Atlantis
• Utopias/dystopias
• Fantasy and the sea
The editors will choose contributions based on submitted abstracts, which we will then send to the publisher as part of a book proposal. Full-length essays of 5000 to 7000 words will be due a few months thereafter, at which point we will begin the editing phase of the project.
For consideration, please send a 500-word abstract and one-page CV to bprobertson@troy.edu by 1 March 2017. All submissions will receive responses, so if you do not hear from us within a few days of submission, please check with us to make sure we received your material.
Editors ------------------
Ben P. Robertson
Katona D. Weddle
Ekaterina V. Kobeleva
Shannon Thompson
Contact Email: bprobertson@troy.edu
CFP Found Footage Horror Films Collection (3/1/17)
Essays on Found Footage Horror Films
Event: 09/20/2017
Abstract: 03/01/2017
https://www.cfplist.com/CFP.aspx?CID=10732
From the earliest example of mockumentary horror filmmaking with Cannibal Holocaust, found footage has become a trope du jour in the horror film genre. FF films are found in a variety of mediums: feature length films, shorts, and web series. According to the site FoundFootageCritic.com, the sub genre's narrative structure can be identified into four categories:
First person perspective (a.k.a. point of view) style – filmed/recorded from the perspective of the main character who is experiencing the event while holding the camera
Mockumentary (a.k.a. pseudo-documentary style) – filmed/recorded in the form of interviews and investigative reporting of the event
News Footage style – Footage from a professional news crew investigating the event
Surveillance Footage style – Footage from a stationary camera automatically filming/recording the event
In considering a film “found footage”, the source of the footage must be established to the audience. Other aspects of the subgenre include small cast sizes, limited locations and unknown casting.
Since The Blair Witch Project which used low-budget filming techniques and mass marketing ploys to raise hype of its release, the sub genre had an enormous output of product, the majority created by amateur filmmakers looking to recreate the Blair Witch success. Independent filmmakers and distributors have released effective FF films that use horror and Found Footage tropes in smart ways ([REC], TrollHunter, Creep). The recent sequel of The Blair Witch Project has been noted by critics for its use of improving on a sub genre which was said to be exhaustive, building on the conversation about found footage film as a growing art form. It is noteworthy that the rise of dependence on technology in America has lead to a new self-awareness in the sub genre with films such as Diary of the Dead and Unfriended.
Despite the influx of Found Footage films into the horror circuit and across mediums such as film, youTube, and exclusively on streaming sites, very little has been written about this specific type of horror filmmaking. This proposed edited book focuses on and explicitly includes a variety of perspectives of context of Found Footage Horror Films from The Blair Witch Project to the Present day. The essays in this collection will seek to survey the past 17 years and the way the subgenre has transformed perspectives on horror films and 21st century culture.
This call for chapters will consider contributions from a wide set of academic disciplines with a focus on film studies, for example: cultural theory, sociological studies, social psychology, psychology, politics, arts, history, philosophy, literature, and film.
McFarland Publishing is interested in publishing the collection.
Format
Please submit one page abstract (500-600 words).
In this abstract it is important that you 1) highlight your focus on found footage and horror films, noting its impact on various fields of research, culture, and technique 2) draw out your theoretical framework you plan to apply, and 3) state possible contribution made in the chapter.
In addition to the abstract we ask you to submit a short bio. Expected length of final chapter, 5000-6000 words.
Time plan 2017
March 1 – Deadline abstract
March 30-Notification of Accepted/Rejected Abstract
June 1st – Deadline chapter, first draft
August 15– Deadline chapter, second draft
September 20 – Deadline, final chapter
Contact Email: jackson0cooper@gmail.com
Event: 09/20/2017
Abstract: 03/01/2017
https://www.cfplist.com/CFP.aspx?CID=10732
From the earliest example of mockumentary horror filmmaking with Cannibal Holocaust, found footage has become a trope du jour in the horror film genre. FF films are found in a variety of mediums: feature length films, shorts, and web series. According to the site FoundFootageCritic.com, the sub genre's narrative structure can be identified into four categories:
First person perspective (a.k.a. point of view) style – filmed/recorded from the perspective of the main character who is experiencing the event while holding the camera
Mockumentary (a.k.a. pseudo-documentary style) – filmed/recorded in the form of interviews and investigative reporting of the event
News Footage style – Footage from a professional news crew investigating the event
Surveillance Footage style – Footage from a stationary camera automatically filming/recording the event
In considering a film “found footage”, the source of the footage must be established to the audience. Other aspects of the subgenre include small cast sizes, limited locations and unknown casting.
Since The Blair Witch Project which used low-budget filming techniques and mass marketing ploys to raise hype of its release, the sub genre had an enormous output of product, the majority created by amateur filmmakers looking to recreate the Blair Witch success. Independent filmmakers and distributors have released effective FF films that use horror and Found Footage tropes in smart ways ([REC], TrollHunter, Creep). The recent sequel of The Blair Witch Project has been noted by critics for its use of improving on a sub genre which was said to be exhaustive, building on the conversation about found footage film as a growing art form. It is noteworthy that the rise of dependence on technology in America has lead to a new self-awareness in the sub genre with films such as Diary of the Dead and Unfriended.
Despite the influx of Found Footage films into the horror circuit and across mediums such as film, youTube, and exclusively on streaming sites, very little has been written about this specific type of horror filmmaking. This proposed edited book focuses on and explicitly includes a variety of perspectives of context of Found Footage Horror Films from The Blair Witch Project to the Present day. The essays in this collection will seek to survey the past 17 years and the way the subgenre has transformed perspectives on horror films and 21st century culture.
This call for chapters will consider contributions from a wide set of academic disciplines with a focus on film studies, for example: cultural theory, sociological studies, social psychology, psychology, politics, arts, history, philosophy, literature, and film.
McFarland Publishing is interested in publishing the collection.
Format
Please submit one page abstract (500-600 words).
In this abstract it is important that you 1) highlight your focus on found footage and horror films, noting its impact on various fields of research, culture, and technique 2) draw out your theoretical framework you plan to apply, and 3) state possible contribution made in the chapter.
In addition to the abstract we ask you to submit a short bio. Expected length of final chapter, 5000-6000 words.
Time plan 2017
March 1 – Deadline abstract
March 30-Notification of Accepted/Rejected Abstract
June 1st – Deadline chapter, first draft
August 15– Deadline chapter, second draft
September 20 – Deadline, final chapter
Contact Email: jackson0cooper@gmail.com
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