Popular Preternaturaliana: Studying the Monstrous in Popular Culture

Popular Preternaturaliana was brought to life in May 2013 and serves as the official site of the Monsters & the Monstrous Area of NEPCA. We are sponsored by the Northeast Alliance for Scholarship on the Fantastic and hosted by the Association for the Advancement of Scholarship and Teaching of the Medieval in Popular Culture. We hope to provide a resource for further study and debate of the preternatural wherever, whenever, and however it may appear.

Saturday, November 21, 2020

CFP Zombie and Pandemic Culture at Southwest Popular/American Culture Association Conference (11/13/20)

(This just closed last week. It might still be open, given another area recently posted an extension.)

Zombie and Pandemic Culture at Southwest Popular/American Culture Association Conference

https://call-for-papers.sas.upenn.edu/cfp/2020/10/12/zombie-and-pandemic-culture-at-southwest-popularamerican-culture-association

deadline for submissions:

November 13, 2020

full name / name of organization:

Brandon Kempner / Southwest Popular/American Culture Association Conference

contact email:

bkempner@nmhu.edu

Call for Papers

Zombie and Pandemic Culture

Southwest Popular / American Culture Association (SWPACA)

42nd Annual Conference, Week of February 22-27, 2021

http://www.southwestpca.org

Submissions Open September 1, 2020

Submission Deadline: November 13, 2020

For the 2021 Conference, SWPACA is going virtual! Due to concerns regarding COVID-19, we will be holding our annual conference completely online this year. We hope you will join us for exciting papers, discussions, and the experience you’ve come to expect from Southwest.

Proposals for papers and panels are now being accepted for the 42nd annual SWPACA conference. One of the nation’s largest interdisciplinary academic conferences, SWPACA offers nearly 70 subject areas, each typically featuring multiple panels. For a full list of subject areas, area descriptions, and Area Chairs, please visit http://southwestpca.org/conference/call-for-papers/

The area chair for Zombie and Pandemic Culture seeks paper or panel proposals on any aspect of the zombie and/or pandemics in popular culture and history. The zombie has always been pop culture’s premier allegory for infection and disease. 2020’s unprecedented events have put an even greater spotlight on the zombie’s ability to help us understand and process fears and hopes related to pandemics and uncontrollable societal events. Beyond zombies, however, pandemics and popular culture’s treatment of them—both past and emerging—are more critical than ever for processing cultural anxieties.

This area is looking for papers that will analyze any way that popular culture has attempted to process disease, infection, pandemics, zombies, or any combination thereof. How do we view zombies differently in light of the past year’s events? Will zombies remain a core allegory for understanding disease? Does the current pandemic change the way we analyze classic zombie films, books, and televisions shows? How will new zombie texts—and other popular art forms—emerge to tackle coronavirus? The zombie has come to represent the chaotic world we live in, and as our world changes, so too will zombies.

Some topics to consider:

New readings of older zombie texts in light of coronavirus.
How popular culture is beginning to process the pandemic, whether in film, song, television, video games, etc.
Specific zombie films: White Zombie, King of the Zombies, Dawn of the Dead, Tombs of the Blind Dead, Dead Alive, Evil Dead, World War Z, Train to Busan…
Specific books/zombie literature: The Zombie Survival Guide, Zone One, The Girl with all the Gifts, the Newsflesh trilogy, The Reapers are the Angels, Cell…
Zombie writers’ fiction and non-fiction: Stephen Graham Jones, H.P. Lovecraft, Robert Kirkman, Steve Niles, Max Brooks, Matt Mogk, Jovanka Vuckovic, Stephen King…
Zombie television: The Walking Dead, Fear the Walking Dead, Z Nation, iZombie, The Santa Clarita Diet…
Zombie video games: Resident Evil, Call of Duty: Zombies, The Last of Us, Day Z, Dead Rising…
Zombie comics (any aspect: history, cultural impact, storytelling, Marvel zombies…)
Teaching the zombie or pandemics
The voodoo zombie and the historical roots of the zombie
What does the rise in the zombie’s popularity tell us about society?
These are just a few of the topics that could be discussed.

All proposals must be submitted through the conference’s database at http://register.southwestpca.org/southwestpca

For details on using the submission database and on the application process in general, please see the Proposal Submission FAQs and Tips page at http://southwestpca.org/conference/faqs-and-tips/

Individual proposals for 15-minute papers must include an abstract of approximately 200-500 words. For information on how to submit a proposal for a roundtable or a multi-paper panel, please view the above FAQs and Tips page.

SWPACA will offer registration reimbursement awards for the best graduate student papers in a variety of categories. Submissions of accepted, full papers are due January 1, 2021. SWPACA will also offer registration reimbursement awards for select undergraduate and graduate students in place of our traditional travel awards. For more information, visit http://southwestpca.org/conference/graduate-student-awards/. Registration for the conference will be open and available in late fall. Watch your email for details!

In addition, please check out the organization’s peer-reviewed, scholarly journal, Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, at http://journaldialogue.org/

If you have any questions about the Zombie and Pandemic Culture area, please contact its Area Chair, Dr. Brandon Kempner, at bkempner@nmhu.edu.

We look forward to receiving your submissions!

Last updated October 12, 2020

CFP Philosophy and Horror in Film, Literature and Popular Culture (Additional chapters) (1/3/21)

Call for Abstracts: Philosophy and Horror in Film, Literature and Popular Culture: Aesthetics, Politics, and Histories (Additional chapters) to be published by McFarland

https://call-for-papers.sas.upenn.edu/cfp/2020/11/18/call-for-abstracts-philosophy-and-horror-in-film-literature-and-popular-culture

deadline for submissions:

January 3, 2021

full name / name of organization:

Subashish Bhattacharjee

contact email:

subashishbhattacharjee@gmail.com

Call for Abstracts: Philosophy and Horror in Film, Literature and Popular Culture: Aesthetics, Politics, and Histories (extended call for abstracts) for McFarland Publishers

Edited by

Subashish Bhattacharjee (Jawaharlal Nehru University)

and Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires)

citeron05@yahoo.com

http://artes.filo.uba.ar/la-literatura-de-las-artes-combinadas-ii

We, the editors, are looking for five-six additional chapters for our book on the horror genre and philosophy. McFarland has showed interest and we expect a quick turnaround. Below, our original CFP.

In the first volume of his Horror of Philosophy trilogy—In the Dust of this Planet—Eugene Thacker calls the horror of philosophy “the isolation of those moments in which philosophy reveals its own limitations and constraints, moments in which thinking enigmatically confronts the horizon of its own possibility.” The wider genre of “horror” encompassing such genres as literature, cinema, and the arts exposes its viewers/readers/audience to a world of conflict between the selfsame subject and the of the ‘other’ which involves the element of horror. The genre has invariably aided in a metaphorical confrontation with the genre consumers’ systemic confrontation with a reality outside that of the perceived. Stephen King had produced a definition of “horror” as “the unnatural, spiders, the size of bears, the dead walking around, it’s when the lights go out and something with claws grabs you by the arm.” While the above statement does not present a wholesome definition of what could constitute a philosophy of horror, it establishes the groundwork for the same—a philosophy of horror is not a definitive introspection into the genre, or an intervention into it, but rather an attempt to amalgamate the multifarious roles of the genre into presenting a deeper understanding of human psychology while it enters into a transaction with a hyperreal/surreal “reality”. Whether we discuss, at this juncture, Mary Shelley’s manufacture—an in-human contraption—or that of Poe’s blend of the gothic or Lovecraft’s alienating cosmic horror, or, moving into the screen, the shadows of Nosferatu or the veiled sociopolitical satirical horror that is The Night of the Living Dead, horror as a genre has been an adherent to the notion of genre-bending and genre-warping in order to comprehend the realities beyond, or underlying the real.

Freud asserted that horror its based on the “other” that is rooted in the subconscious, formulating the foundations for his concept of the “uncanny” (unheimliche)—something strangely familiar—settling the genre of horror firmly within the individual recipient’s familiar milieu (one may well recall the Mariner’s fright at the spectres of his former friends rising from the dead, or how the homefront becomes a space of/for terror in Strangers, Straw Dogs, or Funny Games), or how the ‘interior’ becomes the site of the horror (Haute Tension). This psychological element of horror is highlighted and further elaborated upon by Lacan, Deleuze, Žižek, the semantic element by Derrida, or philosophers such as Noël Carroll who have endeavoured to produce a philosophical context of horror. While Carroll believes that fantasy and horror operate by challenging and dissolving perceived limits of reality and so violate our normal perspective (The Philosophy of Horror), for Žižek it is the science of psychoanalysis that pieces together our ‘dissociated knowledge’ into the truth that threatens us with madness: the kernel of reality is the horror of the real. Or we may revert to Lovecraft, for whom the ‘dissociated knowledge’ of the cosmos threatens us with its infinite possibilities. In almost all of these generic and critical/theoretical instances, the genre of horror remains loaded with meanings and critical/crucial interventions into our perceived realities—whether it is through our desire to apprehend the absent real in Dark City, or the absence of social illusions and the overpowering anxiety in Possession, the literal “angst” of Angst, the regressive obliteration of human senses of the real and fictional in The Exorcist, Evil Dead, or The Conjuring, or, if we venture into the grotesque and the macabre of gore, Cannibal Holocaust, The Human Centipede, Texas Chainsaw Massacre, Hostel, Wrong Turn, or Saw, and the myriad reiterations of the above as well as the several sub-genres of horror, the genre manages to suspend the receiver’s sense of disbelief by metaphorically ‘getting under our skin’.

The proposed volume undertakes to read into this phenomenon, of horror, as a philosophical statement. We are interested in essays that look into the genre of horror and its sub-genres (body horror, disaster horror, horror drama, psychological horror, science fiction horror, slasher, home invasion, supernatural horror, gothic horror and others) across the mediums of literature, cinema, digital cultures, and the arts from a philosophically informed perspective, or those that develop a philosophical perspective of their own. Essays (within 8000 words) are to be submitted on, but not restricted to, the following themes:

Philosophers on Horror
Philosophies of Horror
Horror genres/sub-genres and philosophy
Horror and psychology/psychoanalysis
The sociology of Horror
The politics of Horror
The aesthetics of Horror
Philosophy and literatures of Horror (genres, authors)
Philosophy and Horror cinemas (genres, directors)
Philosophy and Horror comics
Philosophy and Horror digital cultures (video games, digital dissemination of horror etc)
Philosophy and Horror in the arts (performing, presentative)

The deadline for abstracts between 200-400 words is January, 3, 2021 (complete essays between 5000 to 8000 words long -excluding Works Cited- will be welcome as well). Please, submit your abstract with a brief biography. Queries and submissions may be directed to both, subashishbhattacharjee@gmail.com and citeron05@yahoo.com.

Feel free to contact the editors with any questions you may have about the project and please feel free to share this announcement with any colleague who may be interested in the volume.

Subashish Bhattacharjee is an Assistant Professor of English at the University of North Bengal, India. He edits the interdisciplinary online journal The Apollonian, and is the Editor of Literary Articles and Academic Book Reviews of Muse India. His doctoral research, on the cultures of built space, is from the Centre for English Studies, Jawaharlal Nehru University, where he has also been a UGC-Senior Fellow. His recent publications include Queering Visual Cultures (Universitas, 2018), and New Women's Writing (Cambridge Scholars, co-edited with GN Ray, 2018).

Fernando Gabriel Pagnoni Berns (PHD) is an Assistant Professor at the Universidad de Buenos Aires (UBA) - Facultad de Filosofía y Letras (Argentina)-. He teaches courses on international horror film and is director of the research group on horror cinema “Grite.” He has published chapters in the books To See the Saw Movies: Essays on Torture Porn and Post 9/11 Horror, edited by John Wallis, Critical Insights: Alfred Hitchcock, edited by Douglas Cunningham, A Critical Companion to James Cameron, edited by Antonio Sanna, and Gender and Environment in Science Fiction, edited by Bridgitte Barclay, among others. He has authored a book about Spanish horror TV series Historias para no Dormir and edited James Wan: Critical Essays for McFarland (forthcoming 2021).

https://publicaciones.uca.es/alegorias-televisivas-del-franquismo-narcis...

Last updated November 19, 2020

CFP Afro-Gothic: Black Horror and the Relentless Haunting of Traumatic Pasts (journal spec issue) (11/30/20)

Do note the impending deadline:

Afro-Gothic: Black Horror and the Relentless Haunting of Traumatic Pasts

https://call-for-papers.sas.upenn.edu/cfp/2020/10/21/afro-gothic-black-horror-and-the-relentless-haunting-of-traumatic-pasts

deadline for submissions:

November 30, 2020

full name / name of organization:

Special Issue, Peer-Reviewed Journal on Black Aesthetics

contact email:

afrogothiccfp@gmail.com

Afro-Gothic: Black Horror and the Relentless Haunting of Traumatic Pasts
Call for Papers

For Afro-Gothic: Black Horror and the Relentless Haunting of Traumatic Pasts, we seek work that explores the Afro-Gothic as an aesthetic and as a means of working through the trauma of colonial slavery. Although the Gothic genre is widely discussed as a purely European literary tradition, the gothic manifests as a global phenomenon. Every culture possesses its own ghost stories, monster tales, or myths about creatures with supernatural powers. This project examines how the tropes of the gothic—with its constructions of the monstrous, the villainous, the mad and the haunted—take on wholly different valences when they are studied within the contexts of blackness, particularly under the modern colonial project. In our view, one important characteristic of the Afro-Gothic that distinguishes it from its European counterpart is its rootedness in lived black experiences. The Afro-Gothic often addresses the everydayness of black horror in ways that attest to the repetitive violence against black bodies and the relentless haunting of traumatic pasts.

We seek work that explores Afro-Gothic sensibilities in film, fiction, performance, and the visual arts. What we might call Afro-Gothic narratives have emerged lately in popular works by Jordan Peele (Get Out and Candyman), in the series Tales from the Hood (1995/2018) and Lovecraft Country (2020), Childish Gambino’s This is America, and Kara Walker’s antebellum silhouettes, to name just a few. We are interested in works that expand and explode current generic definitions of the Gothic and highlight the ways in which contemporary black artists are reckoning with aesthetics. In what ways does the Afro-Gothic serve to frame our understanding of the contemporary moment through a dark prism of organized terror?
Possible topics to explore might include (but are certainly not limited to):

• colonial hauntings – living among ghosts and the walking dead
• the plight of the hunted and state-sanctioned violence
• dark tourism and haunted houses
• maritime Afro-Gothic – nautical narratives
• medical experimentation and the trope of the mad scientist
• miscegenation, hybridity, and the bodily mash-up
• conjuring, the witch doctor and practitioners of the dark arts
• urban decay and environmentalism – climate crisis, toxicities, eco-gothic and natural disasters
• Afro-Gothic and new technologies, soundscapes, surveillance, cyber-haunting, ghost in the machine
• menageries of the grotesque and public display of monstrosity
• cannibalization and ‘Eating the Other’
• sexual exploitation and gendered violence
• bondage, dungeons, incarcerations, and the restricted body

Essays must be written in English, but we encourage international submissions on all African Diasporic Afro-Gothic topics. Accepted works will be included in our proposal for a special issue of an online, open-access, peer-reviewed journal dedicated to black studies and aesthetics. Please submit an abstract (300 words) along with a brief bio to afrogothiccfp@gmail.com.

The deadline for submissions is November 30, 2020.

Tashima Thomas, Editor
Pratt Institute

Sybil Newton Cooksey, Editor
New York University

Last updated October 22, 2020

CFP Supernatural Studies Spec Issue on Jordan Peele (4/30/21)

Supernatural Studies Seeks Contributors to Special Journal Issue on Jordan Peele

https://call-for-papers.sas.upenn.edu/cfp/2020/09/21/supernatural-studies-seeks-contributors-to-special-journal-issue-on-jordan-peele

deadline for submissions:

April 30, 2021

full name / name of organization:

Supernatural Studies: An Interdisciplinary Journal of Art, Media, and Culture

contact email:

supernaturalstudies@gmail.com

Call for Papers: Special Issue on Jordan Peele

Guest editor Dr. Chesya Burke (Stetson University) seeks contributors for a special issue on the works of Jordan Peele for Supernatural Studies: An Interdisciplinary Journal of Art, Media, and Culture to be published in the spring of 2022.

Submissions may consider Peele’s work as a writer, director, and/or producer as it falls within the scope of the journal’s purview; representations of the supernatural, the speculative, the uncanny, and the weird. Writers may focus on any of Peele’s works, with preference given to Get Out, Us, Candyman, Lovecraft Country, or any speculative or genre works that come out between now and the publication of this issue. Papers may center any topics, but special attention will be paid to Black masculinity, Black femininity, the way that comedy informs horror (and vice versa) within his work, Black bodies in abject horror, historical context and legacy, obscure nuances, and hidden easter eggs. Likewise, articles can put Peele’s work in conversation with other genre works, film makers, literature, and histories of Black horror.

Please send an abstract of no more than 500 words to cburke2@stetson.edu and supernaturalstudies@gmail.com by 30 April 2021. The Subject line should read: “Jordan Peele Issue: [abbreviated title].” Completed manuscripts will be due by 15 September 2021, with revisions to be completed no later than 31 January 2022.

Proposals for [500-1000 word] reviews of scholarly work ormedia pertaining to Peele or to speculative fiction (literature) and black horror more broadly are also welcomed. Prospective reviewers should email a brief description (no more than 75 words) of their proposed topic and qualifications to cburke2@stetson.edu and supernaturalstudiesreviews@gmail.com. The Subject line should read: “Jordan Peele Review: [abbreviated title].” Reviews will be due by 31 October 2021.

Supernatural Studies: An Interdisciplinary Journal of Art, Media, and Culture is an open-access, peer-reviewed, MLA-indexed journal (www.supernaturalstudies.com) published twice a year in print and online.

Last updated September 28, 2020

Notice Proliferations of Lovecraft: A Global Interdisciplinary Conference (expired cfp) (4/18-19/21)

Sorry to have missed posting this earlier. (Not sure if it is me or a faulty search function in the database [or a bit of both].)

Proliferations of Lovecraft: A Global Interdisciplinary Conference

https://call-for-papers.sas.upenn.edu/cfp/2020/09/18/proliferations-of-lovecraft-a-global-interdisciplinary-conference

deadline for submissions:

September 25, 2020

full name / name of organization:

Progressive Connexions

contact email:

liza@progressiveconnexions.net

Proliferations of Lovecraft
A Global Interdisciplinary Conference

Sunday 18th April 2021 - Monday 19th April 2021
Vienna, Austria

From humble beginnings in the pages of early 20th century pulp fiction magazines, the stories of H.P. Lovecraft continue to exert a powerful influence over the human imagination, leaving an indelible mark on various facets of society. The ideas, language, imagery and themes of Lovecraft’s so-called ‘weird fiction’ and horror fiction offer fascinating engagements with the workings of the human mind as it grapples with the known and unknown world. It is little wonder that Lovecraft’s work has inspired a proliferation of fiction, philosophy, art, politics, games, literary criticism, cocktails, music and more. But what is it about Lovecraft’s work that serves as a catalyst for such a diverse array of cultural products? How has the use of Lovecraftian ideas in these cultural products assisted in the evolution of, or deviation from the original body of work? What meanings are created by reviving Lovecraft’s work in a particular way, in a particular context, and in a particular period in time? How can Lovecraft’s work become a catalyst for expressing new ideas?

Proliferations of Lovecraft provides a platform for inclusive interdisciplinary engagements aimed at exploring these questions. The organising committee welcomes proposals on any subject linked to Lovecraft’s thinking and writing.

Key Topics
Key topics, themes and issues for discussion may include, but are definitely not limited to:

~ Lovecraftian adaptations in literature, film, television, video and games
~ Eldritch music
~ why people are drawn to Lovecraftian ideas
~ philosophy and Lovecraft
~ sanity as a feature of video games and board games
~ faith, belief and the supernatural
~ race/gender studies
~ Lovecraft fandom
~ optimism vs. pessimism
~ meaning of monsters
~ presentations of your own proliferations of Lovecraft
~ science and technology
~ Lovecraft across cultures
~ Lovecraftian ideas in public policy
~ Lovecraft and mental health
~ strategies for thinking, writing, teaching Lovecraft

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 2nd October 2020. 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 9th October 2020.

If your submission is accepted for the conference, a full draft of your contribution should be submitted by Friday 12th February 2021

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: Lovecraft Submission.

Where To Send

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

Liza Blackman: liza@progressiveconnexions.net
Len Capuli (Project Administrator): viennalovecraft@progressiveconnexions.net

What's so Special About a Progressive Connexions Event?
A fresh, friendly, dynamic format: at Progressive Connexions we are dedicated to breaking away from the stuffy, old-fashioned 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.

Ethos
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.

Please send all enquiries to: viennalovecraft@progressiveconnexions.net

For further details and information please visit the conference web page: https://www.progressiveconnexions.net/interdisciplinary-projects/evil/lo...

Sponsored by: Progressive Connexions

Last updated September 22, 2020

CFP Haunted Shores: Coastlands, Coastal Waters, and the Littoral Gothic (conference) (1/31/21)

An intriguing idea:

Haunted Shores: Coastlands, Coastal Waters, and the Littoral Gothic

https://call-for-papers.sas.upenn.edu/cfp/2020/11/17/haunted-shores-coastlands-coastal-waters-and-the-littoral-gothic

deadline for submissions:

January 31, 2021

full name / name of organization:

Edinburgh Napier University/ University of Birmingham/ University of Bristol

contact email:

hauntedshoresinfo@gmail.com

Call for Participants

Haunted Shores: Coastlands, Coastal Waters, and the Littoral Gothic

Online symposium: Friday 26th March 2021

We seek participants in an online symposium to explore coasts and shores in the Gothic and to discuss a potential edited volume of essays. At this early stage, we invite proposals for short, 10-15 minute presentations, but would also like to hear from anyone interested in attending or taking part.

Haunted Shores

The Demeter drifts in the fog into Whitby harbour; Melmoth stands on the cliff and laughs at the shipwreck below; the vacationers on Amity Island have a torrid Fourth of July weekend… The coast, the shore, the beach – these unsteady, and unsettling, meeting points between the sea and the land – figure prominently across the gothic, horror, and weird traditions. In the popular imagination, the shoreline may be a site of pleasure and recreation, a limit point of the nation state, a point of departure and return, a key site of industry – but darker currents eddy in these waters, too.

Haunted Shores seeks to explore the rich literary and cultural history of this space in our literatures of terror. It will explore the ways in which we can view the gothic as offering a disconcerting counterpart to the beach as a site of leisure culture, both rising to prominence in the late-eighteenth century. We will seek to raise questions that go beyond any single nation state, adopting a global perspective on its subject. The symposium will be informed by recent work in the Blue Humanities and the nautical gothic, but hopes also to open up these discourses in new directions, paying sustained attention to a very particular gothic geography and its human and nonhuman histories.

Proposals

Proposals are invited for 10-15 minute presentations or papers that discuss any aspect of the coast, the beach, or the shore in the gothic and related genres, in any media, from any time period and any setting. Possible themes to explore within the gothic tradition include, but are certainly not limited to:

· Invasion and incursion at the shore;

· Coastal shipwrecks and drownings;

· Pirates, piracy, and smuggling;

· Critical theoretical approaches to the gothic coast;

· Coastal structures and buildings, maritime, wartime, or other;

· Ecogothic, the nonhuman, and the shore;

· National borders and boundaries, migration and immigration;

· Colonial and postcolonial histories of shorelines;

· The coast as a site of labour, consumerism, capitalism, alienation;

· Vacationing, seaside towns and attractions – and beach bodies…

Symposium logistics

The symposium will take place entirely online, mindful of participants’ safety and ongoing restrictions, and hopes to foster an international conversation between scholars of the gothic who may not otherwise get an opportunity to get together this year!

The symposium will run throughout Friday 26th March, with some pre-prepared presentations available in advance, asynchronous discussion in a Slack workspace, and a live Zoom session in the afternoon.

Submissions

Please submit abstracts for presentations (~200-300 words) and brief biographies to hauntedshoresinfo@gmail.com by 31st January. Find us on Twitter @ShoresHaunted and on hauntedshores2020.wordpress.com.

Participants will be notified of decisions by 8th February.

If you have any queries, please don’t hesitate to get in touch with the organisers:

Dr Emily Alder (em.alder@napier.ac.uk)

Dr Jimmy Packham (j.packham@bham.ac.uk)

Dr Joan Passey (joan.passey@bristol.ac.uk)

Last updated November 19, 2020

CFP Penny Dreadfuls and the Gothic (collection) (12/4/20)

Penny Dreadfuls and the Gothic

https://call-for-papers.sas.upenn.edu/cfp/2020/11/02/penny-dreadfuls-and-the-gothic

deadline for submissions:

April 30, 2021

full name / name of organization:

Nicole Dittmer and Sophie Raine

contact email:

nicole.dittmer@stu.mmu.ac.uk

Penny Dreadfuls and the Gothic

Edited Collection, Call for Papers

Famed for their scandalous content and supposed pernicious influence on a young readership, it is little wonder why the Victorian penny dreadful was derided by critics and, in many cases, censored or banned. These serialised texts, published between the 1830s until their eventual decline in the 1860s, were enormously popular, particularly with working-class readers. As Judith Flanders has highlighted in The Invention of Murder (2011), for every publisher of “respectable fiction”, there were ten for penny fiction. However, despite their evidential popularity, these texts have fallen into obscurity; this could be accounted for perhaps due to their ephemeral nature with many titles being lost or incomplete, alternatively this could be the effects of literary criticisms from writers such as Charles Dickens and James Greenwood overspilling into contemporary scholarship. Neglecting these texts from Gothic literary criticism creates a vacuum of working-class Gothic texts which have, in many cases, cultural, literary and socio-political significance. This collection aims to redress this imbalance and critically assess these crucial works of literature.

While some of these penny texts (i.e. String of Pearls, Mysteries of London, and Varney the Vampyre to name a few) are popularised and affiliated with the Gothic genre, many penny bloods and dreadfuls are obscured by these more notable texts. As well as these traditional pennys produced by such prolific authors as James Malcolm Rymer, Thomas Peckett Press, and George William MacArthur Reynolds, the objective of this collection is to bring the lesser-researched, and forgotten, texts from neglected authors into scholarly conversation with the Gothic tradition and their mainstream relations.

This call for papers requests essays that explore these ephemeral and obscure texts in relevance to the Gothic mode and genre. The aim for this collection is to revitalize the all-but-forgotten texts of the Victorian period and offer a re-emergence into Gothic scholarship. Examining such issues of marginalisation, the environment, and discourse in these ephemeral nineteenth-century publications, this edited collection will open an unexplored, and much needed, avenue of Gothic studies.

Essays may include such topics as (but are not limited to):

History and the evolution of penny narratives throughout the Victorian period
British pennys and their American counterparts (i.e. dime novels)
Penny literature as hybridisations of canonical, or high literature
Gothic representation in penny publications
“Rebirths” and/or adaptations of the penny narratives
Environment and the ecoGothic in penny literature
Reconceptualisation of the roles or manifestations of Gothic monsters and monstrosities
New perspectives and analytical approaches to Gothic subtexts in penny narratives
Victorian medical discourse and representation in penny narratives
Gothic marginalisation (i.e. race, colonisation, gender, sexuality, classism) in penny publications

Submission Guidelines: A brief bio and abstracts of 300 words should be sent to the editors, Nicole Dittmer (Manchester Metropolitan University) and Sophie Raine (Lancaster University) by 4 December 2020. Editors: nicole.dittmer@stu.mmu.ac.uk and s.raine@lancaster.ac.uk . Chapter submissions of between 5,000 and 7,000 words are due 30 April 2021.

Deadlines: Abstract submission: 4 December 2020 (notification for abstract acceptance provided with a four-five week period). Chapter submission: 30 April 2020.

Last updated November 4, 2020

CFP EXTENDED DEADLINE: Horror (Literary & Cinematic), SWPACA (virtual conference) (12/1/20; 2/22-2/21)

EXTENDED CFP DEADLINE: Horror (Literary & Cinematic), SWPACA (virtual conference)

https://call-for-papers.sas.upenn.edu/cfp/2020/11/19/extended-cfp-deadline-horror-literary-cinematic-swpaca-virtual-conference

deadline for submissions:

December 1, 2020

full name / name of organization:

SWPACA

contact email:

steffenhantke@gmail.com

Call for Papers

Horror (Literary & Cinematic)

Southwest Popular / American Culture Association (SWPACA)

42nd Annual Conference, Week of February 22-27, 2021

http://www.southwestpca.org

Extended Submission Deadline: December 1, 2020

The area chair for Horror invites all interested scholars to submit paper proposals on any aspect of horror in literature, film, television, digital and online media, as well as in general culture. Given the strong showing of work on horror cinema in recent years, we hope to continue this tradition, but also to diversify into new and unconventional areas, especially with the addition in the last four years of roundtable sessions on a variety of popular topics. If you are interested in participating in a roundtable event regarding horror, please contact the area chair with questions and suggestions for topics and presenters.

All proposals must be submitted through the conference’s database at http://register.southwestpca.org/southwestpca

For details on using the submission database and on the application process in general, please see the Proposal Submission FAQs and Tips page at http://southwestpca.org/conference/faqs-and-tips/

In addition, please check out the organization’s peer-reviewed, scholarly journal, Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, at http://journaldialogue.org/

If you have any questions about the horror area, please contact its Area Chair, Steffen Hantke (steffenhantke@gmail.com).

We look forward to receiving your submissions!

Last updated November 19, 2020

Call for Chapters: Japanese Horror (1/3/2021) to be published by Rowman & Littlefield

Call for Chapters: Japanese Horror: New Critical Approaches to History, Narratives and Aesthetics (Additional Chapters) to be published by Rowman & Littlefield

https://call-for-papers.sas.upenn.edu/cfp/2020/11/18/call-for-chapters-japanese-horror-new-critical-approaches-to-history-narratives-and

deadline for submissions:

January 3, 2021

full name / name of organization:

Subashish Bhattacharjee

contact email:

subashishbhattacharjee@gmail.com

Call for Chapters: Japanese Horror: New Critical Approaches to History, Narratives and Aesthetics (Additional Chapters).

deadline for submissions:

January, 3, 2021

full name / name of organization:

Subashish Bhattacharjee (Jawaharlal Nehru University), Ananya Saha (Jawaharlal Nehru University) and Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires, Argentina)

contact email:

subashishbhattacharjee@gmail.com

citeron05@yahoo.com

Call for Chapters: Japanese Horror: New Critical Approaches to History, Narratives and Aesthetics for Rowman & Littlefield Publishers (Additional Chapters).

Edited by Subashish Bhattacharjee (Jawaharlal Nehru University),

Ananya Saha (Jawaharlal Nehru University)

Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires, Argentina)

Cathedra of Film and Literature

http://artes.filo.uba.ar/la-literatura-de-las-artes-combinadas-ii

We, the editors, are looking for five-six additional chapters for our book on Japanese horror. A contract with Rowman & Littlefield has been signed and we expect a quick turnaround. Below, our original CFP.

The cultural phenomenon of Japanese Horror has been of the most celebrated cultural exports of the country, being witness to some of the most notable aesthetic and critical addresses in the history of modern horror cultures. Encompassing a range of genres and performances including cinema, manga, video games, and television series, the loosely designated genre has often been known to uniquely blend ‘Western' narrative and cinematic techniques and tropes with traditional narrative styles, visuals and folklores. Tracing back to the early decades of the twentieth century, modern Japanese horror cultures have had tremendous impact on world cinema, comics studies and video game studies, and popular culture, introducing many trends which are widely applied in contemporary horror narratives. The hybridity that is often native to Japanese aestheticisation of horror is an influential element that has found widespread acceptance in the genres of horror. These include classifications of ghosts as the yuurei and the youkai; the plight of the suffering individual in modern, industrial society, and the lack thereof to fend for oneself while facing circumstances beyond comprehension, or when the features of industrial society themselves produce horror (Ringu, Tetsuo, Ju on); settings such as damp, dank spaces that reinforce the idea of morbid, rotten return from the afterlife (Dark Water)—these are features that have now been rather unconsciously assimilated into the canon of Hollywood or western horror cultures, and may often be traced back to Japanese Horror (or J-Horror) cultures. Besides the often de facto reliance on gore and violence, the psychological motif has been one of the most important aspects of Japanese Horror cultures. Whether it is supernatural, sci-fi or body horror, J-Horror cultures have explored methods that enable the visualising of depravity and violent perversions, and the essence of spiritual and material horror in a fascinating fashion, inventing the mechanics of converting the most fatal fears into visuals.

The proposed volume will focus on directors and films, illustrators and artists and manga, video game makers/designers and video games that have helped in establishing the genre firmly within the annals of world cinema, popular culture and imagination, and in creating a stylistic paradigm shift in horror cinema across the film industries of diverse nations. We seek essays on J-Horror sub-genres, directors, illustrators, designers and their oeuvre, the aesthetics of J-Horror films, manga, and video games, styles, concepts, history, or particular films that have created a trajectory of J-Horror cultures. Works that may be explored in essay-length studies include, but are not limited to, Kwaidan, Onibaba, Jigoku, Tetsuo: The Iron Man and its sequels, Audition, Fatal Frame, the Resident Evil game franchise, Siren, Uzumaki, Gyo, Tomie, besides the large number of Japanese horror films that have been remade for the US market, including Ringu, Ju on, Dark Water, and Pulse among others, and a host of video games with Western/American settings (such as the Silent Hill franchise) and film adaptations (Resident Evil franchise)—analysing the shift from the interactive game form to consumable horror in the cinematic form. For adaptations, we are also looking for essays that analyse the shift from the interactive game form or image-and-text form to consumable audiovisual horror in the form of cinema and vice versa. Analyses of remakes could also focus on the translatability of Japanese horror vis-à-vis American or Hollwood-esque horror, and how the Hollywood remakes have often distilled western horror cinematic types to localise the content.

Directors, designers and manga artists working in the ambit of Japanese horror cultures who may be discussed include, but are not limited to, Nobuo Nakagawa, Kaneto Shindo, Masaki Kobayashi, Hideo Nakata, Takashi Miike, Kiyoshi Kurosawa, Ataru Oikawa, Takashi Shimizu, Hideo Kojima, Junji Ito, Kazuo Umezu, Shintaro Kago, Katsuhisa Kigtisu, Gou Tanabe and others. Other issues that may be explored in J-Horror cultures may include the issue of violence and gore, gender and sexuality, sexual representation, the types of the supernatural, cinematic techniques and narrative techniques and others.

At this stage we are looking for abstracts for proposed chapters up to 500 words within January, 3, 2021, but complete papers will be well received. The papers must be written according to the MLA stylesheet, following the rules of the 7th Edition handbook, with footnotes instead of endnotes. All submissions (Garamond, 1.5 pt line spacing) must be accompanied by an abstract (200-250 words) and a short bio-biblio of the author. Images, if used, should preferably be free from copyright issues—sourced from creative commons/copyright-free sources, or permissions should be obtained from relevant copyright holders.

Enquiries and submissions are to be directed to Subashish Bhattacharjee, Ananya Saha and Fernando Pagnoni Berns at

subashishbhattacharjee@gmail.com

citeron05@yahoo.com

Ananya Saha is a PhD scholar in the Centre for English Studies, JNU, New Delhi. Her research is on the idea of the 'outsider' in Japanese and non-Japanese manga vis-a-vis globalization. Other research interests include Fandom and Queer studies, Translation theory and practice, New Literatures and so on. She has published in international journals, including Orientaliska Studier (No 156), from the Nordic Association of Japanese and Korean Studies. She is the co-editor of the volume titled Trajectories of the Popular: Forms, Histories, Contexts (2019), published by AAKAR, New Delhi. She has been the University Grants Fellow, SAP-DSA-(I) in the Centre for English Studies, JNU (2016-17), and has been awarded a DAAD research visit grant to Tuebingen University, Germany under the project "Literary Cultures of Global South."

https://publicaciones.uca.es/alegorias-televisivas-del-franquismo-narcis...

Contact Info:

subashishbhattacharjee@gmail.com;

citeron05@yahoo.com

Last updated November 19, 2020

CFP 5th Annual Ann Radcliffe Academic Conference at StokerCon 2021 (11/30/20; 5/20-23/21)

Missed this earlier in the year. Note the impending deadline.

Call for Presentations:

The Fifth Annual Ann Radcliffe Academic Conference at StokerCon^™ 2021

(http://stokercon2021.com/?p=107)

Abstract Submission Deadline: November 30, 2020

Conference Dates: Thursday, May 20, 2021 – Sunday, May 23, 20201

Conference Hotel: The Curtis Hotel, 1405 Curtis Street, Denver, CO 80202

Conference Website: http://stokercon2021.com

The Ann Radcliffe Academic Conference co-chairs invite all interested scholars, academics, and non-fiction writers to submit presentation abstracts related to horror studies for consideration to be presented at the fifth annual StokerCon^™, which will be held May 20 – 23, 2021 in Denver, CO.

The Ann Radcliffe Academic Conference is an opportunity for individuals to present on completed research or work-in-progress horror studies projects that continue the dialogue of academic analysis of the horror genre. As in prior years, we are looking for completed research or work-in-progress projects that can be presented to with the intent to expand the scholarship on various facets of horror that proliferates in:

Art
Cinema
Comics
Literature
Music
Poetry
Television
Video Games
Etc.

We invite papers that take an interdisciplinary approach to their subject matter and can apply a variety of lenses and frameworks, such as, but not limited to:

Auteur theory
Close textual analysis
Comparative analysis
Cultural and ethnic
Fandom and fan studies
Film studies
Folklore
Gender/LGBT studies
Historic analysis
Interpretations
Linguistic
Literature studies
Media and communications
Media Sociology
Modernity/Postmodernity
Mythological
Psychological
Racial studies
Semiotics
Theoretical (Adorno, Barthes, Baudrillard, Dyer, Gerbner, etc.)
Transmedia
And others

Conference Details

Please send a 250 – 300 word abstract on your intended topic, a preliminary bibliography, and your CV to AnnRadCon@gmail.com by November 30, 2020. Responses will be emailed out during the month of December. Final acceptances will require proof of StokerCon^™ registration.
Presentation time consideration: 15 minute maximum to allow for a Question and Answer period. Limit of one presentation at the conference.
There are no honorariums for presenters.
In support of HWA’s Diverse Works Inclusion Committee goals, the Ann Radcliffe Academic co-chairs encourage the widest possible diverse representation to apply and present their scholarship in a safe and supportive environment. More information at: http://horror.org/category/the-seers-table/
Please subscribe the StokerCon^™ Newsletter to keep abreast for the latest conference information.

Organizing Co-Chairs

Michele Brittany and Nicholas Diak

Email: AnnRadCon@gmail.com

The Ann Radcliffe Academic Conference is part of the Horror Writers Association’s Outreach Program. Created in 2016 by Michele Brittany and Nicholas Diak, the Ann Radcliffe Academic Conference has been a venue for horror scholars to present their work. The conference has also been the genesis of the Horror Writer Association’s first academic release, Horror Literature from Gothic to Post-Modern: Critical Essays, comprised entirely of AnnRadCon presenters and was released by McFarland in February, 2020.

Membership to the Horror Writers Association is not required to submit or present, however registration to StokerCon^™ 2021 is required for to be accepted and to present. StokerCon^™ registration can be obtained by going to https://stokercon-uk.com/. There is no additional registration or fees for the Ann Radcliffe Academic Conference outside StokerCon^™ registration. If interested in applying to the Horror Writer’s Association as an academic member, please see www.horror.org/about/ .

StokerCon^™ is the annual convention hosted by the Horror Writers Association wherein the Bram Stoker Awards^® for superior achievement in horror writing are awarded.

Tuesday, November 10, 2020

CFP Obscene Surfacings and the Subterranean Gothic (Spec Issue of Revenant; 10/31/20)

(Sorry to have missed this.)

Special Issue of Revenant: Obscene Surfacings and the Subterranean Gothic

https://call-for-papers.sas.upenn.edu/cfp/2020/07/13/special-issue-of-revenant-obscene-surfacings-and-the-subterranean-gothic

deadline for submissions:

October 31, 2020

full name / name of organization:

Joan Passey, University of Bristol

contact email:

joan.passey@bristol.ac.uk

Special Edition of Revenant: Obscene Surfacings and the Subterranean Gothic

Deadline for abstract submissions: October 31st 2020

Guest Editors: Joan Passey (Bristol), Sherezade García Rangel (Falmouth) and Daisy Butcher (Hertfordshire)

The Gothic is a fundamentally subterranean genre. Its underbelly is riddled with crypts, labyrinths, tombs, catacombs, graveyards, mausoleums, sewers, basements, caves, hollows, holes, and mineshafts. The genre is one concerned with the buried and the disinterred, the repressed and re-emergent. Stratified subterranean imagery connotes layers, surfaces, depths, deceits, and concealments. The Gothic is entangled in ideas of revealing, uncovering, and decoding. The act of reading as interpretation has been described by Nicolas Abraham and Maria Torok as a cryptography related to cryptology. Eve Kosofsky Sedgwick claimed that to be ‘buried alive’ is the Gothic master trope. The horror imagination is preoccupied with hands clawing through graves, clowns staring through flood drains, and the world’s potential subterranean flipside – its Upside Down.

From the underground labyrinths of Horace Walpole's The Castle of Otranto (1764) to the dirt coffin of Dracula (1897); from Stephen King's It (1986) to the underground realms of Jordan Peele's Us (2019), the subterranean can be recognised in natural spaces and in inorganic infrastructure; in ancient architecture and modern interventions. In the Hole in the Ground (2019) presents the chasm of changelings, whereas Parasite (2019) uses the image of the basement to conjure class horrors.

Robert MacFarlane's Underland (2019) uses the term ‘Anthropocene unburials’ to describe ecological catastrophes such as the thawing of the Arctic permafrost, positing these as ‘obscene surfacings’. Images and articulations of the Gothic underground have the capacity to unearth ecological, social, economic, and cultural anxieties.

This Special Edition of Revenant aims to catalogue the myriad subterranean, underground, underworld images that underline the Gothic imagination through its long, deep history. While there has been some recent attention paid to the environmental humanities and the Gothic, or the ecogothic, and the industrial Gothic, the subterranean Gothic in particular provides a space for considering intersections between these modes, complicating the binary of the industrial and the natural. Potential topics include but are not limited to:

The Gothic subterranean/underground/depths in literature, poetry, prose, drama, film, periodicals, newspapers, culture, society, economics, politics, video games, RPGs, Youtube videos, television, graphic novels, radio plays, podcasts, theatrical productions, musicals and comics
Mines, mining shafts, and mining bodies; tunnelling, digging, sewers; the industrial underground, working underground
The invisible poor, class stratification, and the Marxist imagination in the subterranean Gothic
The stratification of the psyche and the depths of the mind in the psychoanalytical Gothic
Literal or metaphorical holes, chasms, depths, craters, absences
The London underground, the Paris metro, the New York subway, and travelling bodies underground
Living underground, ‘hollow earth fiction’, and the fear of what may lie beneath
The geological, palaeontological, archaeological, and anthropological in the Gothic
The postcolonial Gothic and images of archaeology, exoticisation, and globalisation
Burials, the buried, graveyards, cemeteries, graverobbing, disinterment, memorials, and funeral practices
Caves and the natural world; the ecogothic; holes and chasms in the environment
Bogs, swamps, marshlands, wetlands, fens and liminal subterranean spaces
‘Deep time’ and understandings of the primitive and the atavistic as related to the repressed or the underground
Dinosaurs, discovery, adventure fiction, empire fiction, and excavation
Underground lives – piskies, goblins, knockers, worms, moles, fungi

For articles and creative pieces (such as poetry, short stories, flash fiction, videos, artwork and music) please send a 500-word abstract and a short biography by October 31st, 2020. If your abstract is accepted, the full article (maximum 7000 words, including Harvard referencing) and the full creative piece (maximum 5000 words if a written piece) will be due April 30th, 2021. The aim is to publish in Summer 2021. Reviews of books, films, games, events, and art related to the subterranean will be considered (800-1,000 words in length). Please send full details of the title and medium you would like to review as soon as possible. Further information, including Submission Guidelines, are available at the journal website: www.revenantjournal.com. Inquiries are welcome and, along with all submissions, should be directed to joan.passey@bristol.ac.uk, sherezade.garciarangel@falmouth.ac.uk and d.butcher@herts.ac.uk. If emailing the journal directly at revenant@falmouth.ac.uk please quote ‘subterranean special issue’ in the subject box.

Last updated July 15, 2020

CFP Red Ink: Critical Essays on Horror Comic Books (11/15/2020)

(Not sure how I missed this earlier.)

Red Ink: Critical Essays on Horror Comic Books

https://call-for-papers.sas.upenn.edu/cfp/2020/08/26/red-ink-critical-essays-on-horror-comic-books

deadline for submissions:

November 15, 2020

full name / name of organization:

Fernando Gabriel Pagnoni Berns

contact email:

redinkproject@yahoo.com

Red Ink: Critical Essays on Horror Comic Books

Deadline for Proposals: Nov. 15, 2020

Full name/name of organization:

Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires) and John Darowski (University of Louisville)

Contact email: redinkproject@yahoo.com

Horror comic books are deeply embedded within comic book culture. Publishers such as EC Comics in the fifties to Warren Publishing in the seventies to Vertigo in nineties created titles that frequently challenged social norms and constructs. The general acclaim that accompanied Image Comics’ The Walking Dead kickstarted a massive production of new horror comics which are obtaining critical success and good sales with more variety and genre mixing than ever before. Further, horror comics have become the sizable source of film and TV adaptations. Still, horror comic books lack scholarship. Most critical texts trace the history of the horror comic book. What is missing is a closer reading on the different runs, mini-series, and/or particular comics.

The editors of Red Ink are seeking abstracts for essays are seeking abstracts for essays that could be included in an upcoming collection. Essays should focus on particular titles or storylines rather than the history of the genre. Submissions may address any horror comic book from any era, including global comics, as well as close readings of audiovisual adaptations. Analysis must apply critical theory to explore the form, function, and/or intersectionality of horror comic books and culture.

Potential chapter topics include, but are not limited to, the following:

-Classic horror comics: Tomb of Dracula; Creepy; Eerie; Vault of Horror; Tales from the Crypt; The Saga of The Swamp Thing; Sandman; Hellblazer.

-Contemporary horror comics: 30 Days of Night; The Walking Dead; Basketful of Heads; Severed; Something Is Killing the Children; Gideon Falls; Infidel; Ice Cream Man; Harrow County; The Low, Low Woods; American Vampire.

-Superheroes and horror: Justice League Dark; DCeased; Marvel Zombies; Immortal Hulk; Morbius: The Living Vampire.

-Comic book adaptations of horror stories and film franchises: Nightmares on Elm Street; Friday the 13th; Freddy vs. Jason vs. Ash; Godzilla: King of the Monsters; Aliens.

-Horror manga and global horror comics: Parasyte; Uzumaki; The Drifting Classroom; Tokyo Ghoul; Aftermath Radio; Left Hand of God, Right Hand of the Devil; Hideout Voices in the Dark; Dark Beast Anamorphosis

-Audio/visual adaptions of horror comic books: Swamp Thing; Locke & Key; Hellboy; Tales from the Crypt; Creepshow; Blade; From Hell; Spawn; Chilling Adventures of Sabrina.

The proposed volume is intended to be scholarly but accessible in tone and approach. Abstracts explaining the focus and approach of the proposed chapter should be accompanied with a brief bio. Topics should be limited in scope, focusing on one series or storyline. Topics that compare and contrast works of a single creator, a title and its adaptation, or different adaptations of the same title (e.g. comparing Bernie Wrightson and Junji Ito’s versions of Frankenstien) will also be considered. Completed essays should be approximately 15-20 double-space pages in MLA format.

Proposals (250-300 words) should be sent to Fernando Gabriel Pagnoni Berns and John Darowski at: redinkproject@yahoo.com

Fernando Gabriel Pagnoni Berns (PhD in Arts) works as Professor at the Universidad de Buenos Aires (UBA) - Facultad de Filosofía y Letras (Argentina). He teaches courses on international horror film and has authored a book about Spanish horror TV series Historias para no Dormir (Universidad de Cádiz, Spain, 2020) and has edited a book on Frankenstein bicentennial and one on James Wan's films (McFarland, forthcoming).

John Darowski is a PhD candidate in Comparative Humanities at the University of Louisville. He has edited an essay collection on Superman adaptations (McFarland, forthcoming) and has published several essays on the history of superheroes.

Contact Info:

Fernando Gabriel Pagnoni Berns

http://artes.filo.uba.ar/pagnoni-berns-gabriel

John Darowski

Contact Email: redinkproject@yahoo.com

Last updated August 31, 2020