Wednesday, August 30, 2023

CFP Queer Monsters and Monstrous Queers: Abominable Others in Literature and Film (9/30/2023; NeMLA 3/7-10/2023)

Queer Monsters and Monstrous Queers: Abominable Others in Literature and Film


deadline for submissions:
September 30, 2023

full name / name of organization:
Northeast Modern Languages Association (NeMLA)

contact email:
cylagan2@uwo.ca


source: https://call-for-papers.sas.upenn.edu/cfp/2023/06/12/queer-monsters-and-monstrous-queers-abominable-others-in-literature-and-film


What makes a monster? While monsters take on multiple forms—vampires, werewolves, cannibals, demons, the undead, and the uncanny, to name a few—societies from all over the world remain collectively enamored by the mystery, danger, and grotesquerie of monsters. Monsters and monstrosity inhabit cultural imaginaries as much as historic landscapes, insofar as such concepts construct, explain, or critique “the vulnerable, pathetic fantasy we distort in our simultaneous search for love and property… [t]he mystery we eliminate to create the revolt of simple things, goods, that desire mystery” (William Carlos Williams). Queerness, as both a mode of experience and of expression, can be critically interrogated through the same lens of definitive Otherness that pervades much of the discourse around monsters and monstrosity. Some of these discourses include: embodiment and the limits of bodies; savagery and civility; xenophobia and heterogeneity; nature and abomination; and desire and disgust. This session will provide space to analyze the multiple ways that monster and queer narratives may be symptomatic, perhaps even constitutive, of the discursive manner that sociocultural views of normalcy and normativity are established.

Through an examination of diverse media sources (literature, art, film, etc.), this session aims to reflect on the strange ways that monstrosity and queerness are entwined, and how both are instrumentalized within ideological frameworks that shape the contours of our intersectional experience. In looking at the interpretive value of conceiving monsters-as-queers and queers-as-monsters, this session foregrounds the possibility of reimagining the affects of fear and fascination beyond the conventional ways that they are deployed in readings of monster and queer narratives. Of special interest are presentations that provide insight on literary and cultural representations of queer/monstrosity as phenomena that can signify co-inherence with, or resistance against, social imaginaries that perpetuate dominant discourses of biopower and normalcy. Other paper topics may include, but are not limited to, the following:

  1. Subversive queer/monstrous identities in literature and film;
  2. Queer horror or monstrosity auteurs; the Grotesque;
  3. Queer/monstrous eroticism, pornography, or fetishization;
  4. Queer/monstrous intertextuality and self-reflexivity;
  5. Countercanonical readings of “classic” queer/monstrous narratives;
  6. Inversions, perversions, and hybridizations

Please submit proposals of 250 to 300 words, with a bio of at most 100 words, on how you intend to address one or more of the talking points above. All proposals must be submitted by September 30, 2023 through the NeMLA portal: https://www.buffalo.edu/nemla/convention.html

NeMLA's 55th Annual Convention will be held in-person in Boston, MA on March 7-10, 2024.

For inquiries, you may contact Christian Ylagan at cylagan2@uwo.ca.


Last updated June 20, 2023

Tuesday, August 8, 2023

CFP Villainous Science: Cloning, Experimentation, and Hybridization in Transmedia Cultures and Storytelling (8/14/2023; NEPCA online 10/12-14/2023)

Villainous Science: Cloning, Experimentation, and Hybridization in Transmedia Cultures and Storytelling


Monsters & the Monstrous Area Special Session

Organizer: Michael A. Torregrossa, Monsters & the Monstrous Area Chair

2023 Annual Conference of the Northeast Popular Culture Association

Online: 12-14 October 2023




Objective


For this event, NEPCA’s Monsters & the Monstrous Area invites proposals for papers for sessions focused on the concept of Villainous Science: Cloning, Experimentation, and Hybridization in Transmedia Cultures and Storytelling. Further details are included below.

Please see the shared Google Doc for the full call with a list of suggested topics: https://tinyurl.com/Villainous-Science-NEPCA-2023.




Through these sessions on Villainous Science: Cloning, Experimentation, and Hybridization in Transmedia Cultures and Storytelling, we are looking to promote interdisciplinary perspectives on cloning, experimentation, and hybridization centered around issues of adaptation, appropriation, and transformation as revealed through aspects of transmediality. Submissions might include perspectives from art, comics, film, game, gender, literary, popular culture, and/or religious studies as well as approaches through ecocritical, philosophical, and/or sociological lenses. Papers should focus on some aspect of the ways cloning, experimentation, and hybridization have been represented over time (from their origins in history or creative texts) and in multiple incarnations as shown in their various adaptations in different contemporary (trans)media, including animation, comics, exhibitions, fiction, films, games and gaming (either live-action or electronic/video), graphic novels, illustration, manga, merchandise, performance, television programing, tourist attractions, virtual reality, and the visual arts. Ideas about cloning, experimentation, and hybridization might be revealed in a variety of genres, such as fantasy, horror, Gothic, science fiction, thrillers, and the Weird.




Please see the shared Google Doc for the full call with a list of suggested topics: https://tinyurl.com/Villainous-Science-NEPCA-2023.




Submission Information


The 2023 Northeast Popular Culture Association (a.k.a. NEPCA) will host its annual conference this fall as a virtual conference from Thursday, October 12-Saturday, October 14. Thursday’s session will be held in the late afternoon-evening (EST), Friday’s session will be held mid-afternoon into the evening (EST), and Saturday’s session will be from morning until midday (EST).



Please make your submissions to the Area Chair, Michael A. Torregrossa, by 14 August 2023, using NEPCA’s automated system accessible from the conference information page at https://nepca.blog/2023-annual-conference/. Please address any questions to the Area Chair at popular.preternaturaliana@gmail.com.



Accepted papers will also be considered (with revision) for an essay collection to be part of the new book series “Villains and Creatures” edited by Antonio Sanna.



The registration costs are as followed: Standard price: $50 + $5.20 Eventbrite fee or Updated & Lifetime Members & Past NEPCA Presidents: $15.00 + $2.85 Eventbrite fee. (“Updated members” are people who have paid the membership dues after 11/1/2022 (that is, after the last conference.)

We recognize that while this makes the conference more accessible in terms of cost, it still may be prohibitive to some. In that case, we strongly encourage folks to complete this Request for 2023 Conference Access. Please review the explanation at the top and complete the form by no later than Sunday, September 10, 2023, by 11:59 pm EST. People will be notified by Wednesday, September 13 about their status.



Thanks for your interest.

Again, please address any questions and/or concerns to the Area Chair at popular.preternaturaliana@gmail.com.


Monday, August 7, 2023

CFP Dying of Laughter: Horror Spoofs and Parody (9/13/2023)

Dying of Laughter: Horror Spoofs and Parody


source: https://call-for-papers.sas.upenn.edu/cfp/2023/06/21/dying-of-laughter-horror-spoofs-and-parody.

deadline for submissions:
September 13, 2023

full name / name of organization:
Reece Goodall, University of Warwick

contact email:
r.a.goodall@warwick.ac.uk



A young woman played by a big-name actress is home alone, making popcorn. She receives a phone call from a mysterious man, who wants to know her favourite scary movie. When she asks why the caller wants to know her name, he provides a terrifying answer: “I want to know who I’m looking at.” But, no sooner has this wham line been uttered than the tension turns to comedy – we cut to the killer, enjoying a spread of Carmen Electra in Playtime magazine. This is the beginning to the successful Scary Movie, evoking the canonical Scream in a parodic manner in order to produce audience laughter. A further four Scary Movie films followed, which were all commercially successful if increasingly critically derided, and this series is just one example that demonstrates an audience for horror parody.

Despite a proven interest from viewers, scholarship has been slow to dig deep into parody on our screens. Specifically, although writing on parody has acknowledged the ways that parody and spoof texts play with genre more generally, there is space for focused work taking up the question of how parody operates within particular genres. This is, in part, because there have been very few major academic studies of parody as a mode in visual media in its own right, with the exception of Wes Gehring’s Parody as Film Genre (1999) and Dan Harries’ Film Parody (2000). Neil Archer has written about parody in English media (2017), and Simon Bacon has edited a collection on spoof and comedic depictions of the vampire (2022), but there is still room for a much-needed collection on the theoretical and industrial intersections between parodies/spoofs and the horror genre.

The horror genre is an interesting target for parodising and spoofing, and the resultant texts often sit in a novel place on the affectual scale – they send up texts designing to make you scream in order to make you laugh. Horror visual media has consistently been spoofed and parodised throughout its history, proving a rich well of material for comedy writers and directors. Major comedy stars (such as Mel Brooks, Leslie Nielsen and Gene Wilder) have been involved with this particular mode, and it has even been able to draw on canonical actors such as Bela Lugosi and Lon Chaney Jr.

The collection will be the first to provide a sustained interrogation of the relationship between parodies/spoofs and the horror genre, exploring an underdiscussed but significant part of the genre corpus. It will bring together writing on major canonical spoofs and underdiscussed films, as well as expanding the scholarly writing on horror spoofs into non-Hollywood and non-Anglophone films and other forms of media.

Suggested topics for this proposed collection include, but are not restricted to:

  • Re-evaluations of canonical horror spoof and parody texts (Abbott and Costello Meet... series, Carry On Screaming!, Young Frankenstein, Scary Movie)
  • Evaluations of underdiscussed horror spoofs and parodies (Student Bodies, Shriek If You Know What I Did Last Friday the 13th, Attack of the Killer Tomatoes, Stan Helsing)
  • Theoretical discussions of the relationship between a horror film/subgenre and its parody
  • Horror parodies/spoofs and genre theory
  • Representations of gender in horror spoofs and parodies
  • Representations of race in horror spoofs and parodies
  • Horror spoofs and parodies on television (The Simpsons ‘Treehouse of Horror’ episodes, Garth Marenghi’s Darkplace, The Woman in the House Across the Street from the Girl in the Window, The Scooby-Doo Project) and other forms of media (Silence! The Musical)
  • Horror spoofs and parodies in a non-Hollywood context (What We Do In The Shadows, Shaun of the Dead), particularly those emerging from non-Anglophone media systems (Au secours!, Bad Trip 3D, Il mio amico Jekyll)
  • Audience engagement with horror spoof and parody
  • Industrial analysis of horror spoof and parody
  • Canonical comedy stars (Abbott and Costello, Mel Brooks, Leslie Nielsen) and horror spoofs/parodies
  • Marlon Wayans and spoof horror (Scary Movie, Scary Movie 2, A Haunted House)
  • Post-modernism, irony, and the horror spoof/parody

Please send an abstract of no more than 300 words and an academic bio of no more than 100 words to Reece Goodall (r.a.goodall@warwick.ac.uk) by 13 September 2023. All notifications of acceptance will be emailed no later than 27 September 2023. If an abstract is accepted, essays can be expected to be between 6,000 and 7,000 words in length (including references). University of Wales Press has expressed interest in the volume as part of their Horror Studies series.

Further inquiries should be sent to Reece Goodall (r.a.goodall@warwick.ac.uk).



Last updated June 27, 2023